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A New Reading Note-Book 
 
 Comprising explanatory notes, questions and sug- 
 gestions for study, biographical notes and reading 
 lists, pronouncing list, and other material, design- 
 ed for use in connection with the Howe Readers 
 
 BY 
 CHARLES MADISON CURRY 
 
 Professor of Literature in The Indiana State Normal School 
 
 1909 
 
 THE INLAND PUBLISHING COMPANY 
 
 Terre Haute, Indiana 
 
V 
 
 
 Copyright 1909 
 
 By CHARLES M. CURRY 
 
 ©CI. A 253975 
 
 c 
 
PREFACE 
 
 This little book is just what the title indicates, a 
 f *note-book.'" ; The .story of its making is somewhat as 
 follows : Ten years ago while one of the editors of a 
 teachers' magazine, the author hit upon the idea of 
 preparing such a work, to be published as a special 
 number of that magazine. Its purpose was to help 
 teachers who did not have hamby access to libraries of 
 reference books, by furnishing explanations of difficult 
 points and by giving biographical and other notes. In 
 the process of writing the material grew far bej^ond the 
 original intention, and the suggestions for study took 
 the main place in the notes. It met with a success that 
 was not anticipated, and in book form has had a sale of 
 over 50,000 copies. 
 
 .Recently "The Howe Readers" (Scribners) were 
 adopted in Indiana for a term of years and numerous 
 letters from teachers over the State and request from 
 the publishers have induced the compiler to write a new 
 work on a larger scale, based upon the material used in 
 those readers. All the features of importance in the 
 old work have been retained and some new ones added. 
 Particularly, the questions and suggestions for study 
 have been emphasized, as that seemed the feature of the 
 book that gave most help to teachers. Important titles 
 and biographies of the authors, from whom selections 
 in the readers are taken, have been given so that much 
 supplementary reading is suggested for both the teacher 
 and the pupil. 
 
 An informal tone has been used throughout as best 
 adapted to the purpose in view. The aim is to be help- 
 ful rather than profound, to be suggestive rather than 
 to interfere in any way with the teacher's own methods 
 of procedure. 
 
 Where- so many questions of fact, so many dates and 
 
 III. 
 
detail?, such a variety of material, are included in a 
 /small compass it is impossible to expect that no errors 
 have crept in. It is believed, however, that a fair de- 
 gree of accuracy has been maintained, and that teachers 
 m ay rely upon the book. At any rate much effort has 
 been expended by both compiler and publisher to that 
 end. 
 
 The reference books drawn upon are altogether too 
 numerous for special mention. However, this note 
 should not close without an expression of thanks to my 
 friend, Professor Thomas H. Briggs, for his gracious 
 permission to include his fine study of Burns' "Honest 
 Poverty/' nor should it close without stating that I am 
 indebted to my wife for many of the best things in the 
 book. 
 
 C. M. C. 
 
 Terro Haute, Ind. 
 
 November 1, 1909. 
 
 IV. 
 
CONTENTS 
 
 1. Preface Page III 
 
 2. Eeal Reading " VI 
 
 3. Introductory $ VII 
 
 4. Pronouncing list ■. . . . " X 
 
 5. Note Book Paaes^l-248 
 
 (The "Note-Book" is arranged alphabetically, all the 
 authors and selections in the Second, Third, Fourth and 
 Fifth Eeaders being included under a single alphabet. 
 Following the notes on each author will be found a 
 reference telling in which Eeaders and on what pages 
 selections from his work are located. Eoman numerals 
 refer to number of the Eeader, Arabic numerals refer 
 to pages. At the beginning of the note on any particu- 
 lar selection will be found an indication of the author, 
 the Eeader in which found, and the page, thus: (Long- 
 fellow— IV— 60) . 
 
 V. 
 
REAL READING 
 
 "I am sure that a man ought to read as he would grasp 
 a nettle; do it lightly., and you get molested; grasp it 
 with all your strength and you feel none of its asperities. 
 There is nothing so horrible as languid study, when you 
 sit looking at the elock, wishing the time was over, or 
 that somebody would call on you and put you out of your 
 misery. The onl}- way to read with any efficacy is to read 
 so heartily that dinner-time comes two hours before you 
 expected it. 
 
 "To sit with your Livy before you, and hear the geese 
 cackling that saved the Capitol; and to see with your own 
 eyes the Carthagenian sutlers gathering up the rings of 
 the Roman knights after the battle of Cannae, and heaping 
 them into bushels; and to be so intimately present at the 
 actions you are reading of that when anybody knocks at 
 the door it will take you two or three seconds to deter- 
 mine whether you are in your own study, or in the plains 
 of Lombarcly, looking at Hannibal's weather-beaten face, 
 admiring the splendor of his single eye, — this is the only 
 kind of study which is not useless, this is the knowledge 
 which gets into the system, and which a man carries about 
 and uses like his limbs, without perceiving that it is ex- 
 traneous, weighty, or inconvenient." 
 
 —SIDNEY SMITH. 
 
 VI. 
 
INTRODUCTORY 
 
 This work does not in any sense undertake to develop 
 a theory of how to teach reading in the abstract. It is 
 based upon the conception that a piece of literature is an 
 organism containing within itself the laws of its own be- 
 ing, and that any method of procedure that brings the 
 student face to face with what is characteristic is a good 
 method. In general the best way to teach a child how to 
 read is to interest him vitally in the thing he is reading 
 about. 
 
 PRIMARY READING 
 
 However, in primary work the' teacher faces the prob- 
 lem of making the child able to use and to understand 
 the language symbols for ideas. In the beginning he has 
 more ideas than he has the language symbols for. In a 
 day not far distant the plan was to begin with the in- 
 dividual letters of the alphabet and later move to com- 
 binations of these letters into words, — the so-called '"al- 
 phabetic method." But at present one would go far to 
 find a skilful primary teacher using such a plan. Through 
 a long process of theorizing and experimenting we have 
 passed through the various stages of the. "word method," 
 the "phonic method," the "sentence method," and others, 
 to the view that probably no one of these alone offers the 
 best mode of approach tc the problem. The conclusion 
 seems to be that some kind of a "combination method" 
 m which elements of each of these are found, works out 
 best in practice. The primary books of the Howe series 
 are not method books, the teacher being left free to put 
 his own ideas on that subject into practice. For those 
 who need help on how to teach beginners in reading the 
 following list is given: 
 
 i. Briggs and Coffman: Reading in the Public 
 Schools. — Row, Peterson & 'Co., Chicago. This book 
 covers in a sane and interesting way the whole subject of 
 reading in the grades, and is recommended as one of the 
 very best of the recent works on the subject. 
 
 VII. 
 
2. McMurry: Special Method in Primary Reading. — 
 The Macmillan Co., New York. 
 
 3. Ward: Rational Readers.— Silver, Bnrdett and Co., 
 Boston. 
 
 In these and the following, methods of teaching primary 
 reading arc worked out in great detail. 
 
 4. The A Mine Readers. — Newsom and Co., New York. 
 
 LITERATURE 
 
 The use of real literature as a basis of all the work in 
 reading has come to be regarded as settled. From 
 "'Mother Goose" to Milton, our readers are now made up, 
 as nearly as possible, of what is regarded as possessing 
 literary quality. While mastering the more mechanical 
 elements in learning to read, the. child is introduced to a 
 great variety of material that, has artistic value, and thus 
 to the great field of books. The forming of a literary 
 iaste, the introduction to great books, is an object never 
 lost sight of. Particularly in the more advanced grades, 
 reading books are made up of masterpieces, or extracts 
 from them, and information books are relegated to their 
 proper places. This makes it necessary that the teacher 
 should know books from the inside, that he should have 
 a good literary taste, based upon real acquaintance with 
 literature and not upon mere "chatter" about books. The 
 works in this particular field are legion and only a few 
 can be mentioned as among those that are, at least, prac- 
 tically helpful: 
 
 1. Cox: Literature in the Common Schools. — Little, 
 Brcwn and Co., Boston. 
 
 This book contains a brief and suggestive discussion of 
 the nature of literature and has extended lists of books 
 classified by grades. 
 
 2. MacClintock Literature in the Elementary School. 
 — University of Chicago Press, Chicago, 111. 
 
 3. Colby: Literature and Life. — Houghton, Mirrlin and 
 Co., Boston. 
 
 4. Bates: Talks on Teaching Literature. — Houghton, 
 Mifflin & Co., Boston. 
 
 VIII. 
 
5 McMurry: Special Method in Reading English Clas- 
 sics. — The Macmillan Co., New York. 
 
 6. Woodberry: The Appreciation of Literature. — The 
 Baker and Taylor Co., New York. 
 
 Many publishing houses issue in cheap form selections 
 for use in the grades as well as in high schools, often ac- 
 companied by notes and other valuable aids for under- 
 standing them. 
 
 THE GENERAL PROBLEM 
 
 Few subjects have been given as great emphasis in 
 modern educational- literature as the teaching of English 
 in all of its phases. The necessity of effectively using the 
 mother tongue is recognized as never before, and a few 
 helpful books are suggested, covering this whole field: 
 
 i. Chubb: The Teaching of English. — The Macmil- 
 lan Co.. New York. 
 
 2. Carpenter, Baker and Scott: The Teaching of Eng- 
 lish. — Longmans, Green and Co., New York. 
 
 3. Baker and Carpenter: The Language Readers. — 
 The Macmillan Co., New York. 
 
 This series of books develops a method of carrying 
 along together, all through the grades, the various phases 
 of English work; reading, grammar, composition, etc. 
 
 FINALLY 
 
 In conclusion it may be allowable to suggest that in the 
 various studies of the selections enumerated in this book 
 may be found a concrete and definite way of dealing 
 profitably with literary selections. Some of the studies 
 have been developed with more detail than others with 
 the thought that they may serve to stimulate teachers to 
 do a more intensive kind of work than usual. The fol- 
 lowing half-dozen may serve to illustrate this point: 
 "Honest Poverty," "In School Days," "Ulysses," Rip 
 Van Winkle," "A Psalm of Life," "The Barefoot Boy." 
 
 IX. 
 
PRONOUNCING LIST OF WORDS 
 
 (This list includes a number of proper names of persons, 
 places and authors, together with a few other words that 
 occur in the readers. No attempt is made to be exhaustive, 
 but only to select a few words that teachers may be glad to 
 have an approximate pronunciation of along with the notes. 
 In the attempt at a phonetic respelling Webster's "New 
 International Dictionary" has been followed in the main, 
 though other authorities have been drawn upon. In the 
 French words the nasal sound is indicated simply by the 
 letter "n".) 
 
 Abou ben Adhem 
 
 Achilles 
 
 Acre 
 
 Aequians 
 
 Agincourt 
 
 Ah-ni-ghi-to 
 
 Alba Longa 
 
 Albert de Malvoisin 
 
 Algid us 
 
 Algiers 
 
 Amiiias 
 
 Apollyon 
 
 Appalachian 
 
 Ariel 
 
 Aslaug 
 
 Audubon 
 
 Aurora 
 
 Austerlitz 
 
 Avilion 
 
 Azores 
 
 Babylonish 
 
 Balmung 
 
 Barbecue 
 
 Beaumanoir 
 
 Bedivere 
 
 Benledi 
 
 Bernard 
 
 Berlin 
 
 (or English,) 
 
 (or,) 
 (or,) 
 
 (or,) 
 
 a/-boo ben ad'-hem 
 
 a-kil'-ez 
 
 a'ker 
 
 e'-kwi-ans 
 
 a'-zhan-koor' 
 
 aj'-in-kort 
 
 ah-nr'-ghi-to 
 
 al'-ba leng'-ga 
 
 al-beV de mal-vwa'-san 
 
 al'-gl-dus 
 
 al-jerz' 
 
 a-mil'-i-as 
 
 a-pol'-i-on 
 
 a-pol'-yon 
 
 ap-a-lach'-i-an 
 
 ap-a-la'-chi-an 
 
 a'-ri-el 
 
 as'-loug 
 
 a'-doo-bon 
 
 a-ro'-ra 
 
 ous'-ter-lits 
 
 a-vil'-i-on 
 
 a-vil'-ySn 
 
 a-zorz' 
 
 bab-i-lo'-nish 
 
 bal'-moSng 
 
 bar'-be-ku 
 
 bo-man-war' 
 
 bSd'-I-ver 
 
 ben-ledM 
 
 b£r-nar' 
 
 b8r-len' 
 
 X 
 
Be^h-Iehem-judah 
 Blucher 
 
 Boaz 
 
 Bois de Boulogne 
 
 Brian de Bois-Guilbert 
 
 Braine 1'Alleud 
 
 Briareus 
 
 Britannia 
 
 Broek 
 
 Bucephalus 
 
 Burgundy 
 
 Cadi 
 
 Cadiz 
 
 Caeso 
 
 Casse 
 
 Ca.ssius 
 
 Chanticleer 
 
 Chilion 
 
 C lan-AJpine 
 
 Cleges (Sir) 
 
 Clough 
 
 Clyrnene 
 
 CGilantogle 
 
 Comanche 
 
 Coups 
 
 Cowper (V/illiam) 
 
 Coyote 
 Cressy 
 Croisic 
 Crusoe 
 Cuirassiers 
 
 Dasent (G. W.) 
 
 Deborah Read 
 
 Delrnonico 
 
 Delord 
 
 Devoir 
 
 Diana 
 
 Diedrich Knickerbocker 
 Don Quixote 
 
 (or,) 
 
 (or,) 
 
 bethMe-hem-joo'-da 
 
 blii'-ker 
 
 bo'-az 
 
 bwa'-de-boo-lon'-y 
 
 bre-an'-de-bwa-gel'-ber' 
 
 bran'-lal-luh' 
 
 brl-a'-re-us 
 
 brirtan'-i-a 
 
 brok (o as in move.) 
 
 bu-seT-a-lus 
 
 bur'-gun-di 
 
 ka'-di 
 ka'-diz 
 se'-zo 
 ka-sa' 
 kash'-i-us 
 chan'-ti-kler 
 kil'-i-on 
 klan-al'-pin 
 cle'-jez 
 kluf 
 
 klim'-e-ne 
 coil'-an-to'~gl 
 ko-man'-che" 
 kooz 
 
 koo'-per • 
 kou'-per 
 kl'-ot 
 cres -i 
 krwa-zek' 
 kroo'-so 
 kwe-ra-ser' 
 
 da/-sent 
 
 deb'-o-ra reed 
 
 del-mon'-i-co 
 
 de-lor' 
 
 deV'-wor 
 
 dl-an'-a 
 
 di-a'-na 
 
 de'-drik mk'-er-bok'-er 
 
 don kwiks'-ot 
 
 Druids 
 Dubois 
 Duicinea 
 
 Egypt 
 
 Eichao 
 
 Elimelech 
 
 (or Spanish,) don ke-ho'-ta 
 droo'-idz 
 dii-bwa' 
 dul'-si-ne'-a 
 
 e'jipt 
 
 i-ka'-o 
 
 e-llm'-e-lek 
 
 XI 
 
Epaphus 
 
 Epatke 
 
 Eskimo 
 
 Excalibur 
 
 Ezel 
 
 Frischemont 
 Fujiyama 
 
 Gael 
 Gallia 
 Gawaine 
 . Genappe 
 Genie 
 Gessler 
 Gibraltar 
 Gingerbernooster 
 Gitche Gumee 
 Gloucester 
 Goh Bang 
 Greenwich 
 Gretel 
 Grim a 
 
 Grinnell (G. B.) 
 Grouchy 
 
 Hamelin 
 
 Hammerfest 
 
 Hans 
 
 Hayerhill 
 
 Heliades 
 
 Helvetia 
 
 Hemans (Mrs.) 
 
 Hercules 
 
 Hesperides 
 
 Hiawatha 
 
 Hispania 
 
 Hoang-Ho 
 
 Hoti 
 
 Hyades 
 
 Hyla 
 
 Hyungbo 
 
 Igloo 
 
 Iktomi 
 
 Indostan 
 
 Ingelow (Jean) 
 
 Iris 
 
 Ishkoodah 
 
 Italia 
 
 ep'-a-fus 
 
 e-pat'-ka 
 
 es'-ki-mo 
 
 eks-kal'-i-bur 
 
 e'-zel 
 
 frish-mon' 
 foo'-je-ya'-ma 
 
 gal 
 
 gal'-i-a 
 
 ga'-wan 
 
 zhe-nap' 
 
 je'-m 
 
 gess'-ler 
 
 ji-brol'-ter 
 
 jin'-jer-ber-noos'-ter 
 
 gltch'-e gu'-me 
 
 glos-ter 
 
 go'-bang' 
 
 grin'-rj 
 
 grSt'-el 
 
 grlm'-a 
 
 grm-nel' 
 
 groo-she' 
 
 ham'-e-lm 
 ham'-mer-fest 
 hans 
 ha'-ver-il 
 he-ll'-a-dez 
 hSl-ve'-shi-a 
 hSm'-anz 
 her'-ku-lez 
 hgs-pSr'-I-dez 
 hl-a-wath'-a 
 (or,) he-a-wath'-a 
 hls-pa'-nl-a 
 hwang'-ho' 
 ho'-tl' 
 hi'-a-dez 
 hlMa 
 hl'-ung-bo' 
 
 TgMoo 
 
 Ik-to'-m? 
 
 In-do-stan' 
 
 m'-je-lo 
 
 l'-rts 
 
 3fsh'-ko6-dah' 
 
 e-tal'-ya 
 
 XII 
 
Joaquin (Miller) 
 Joan Guthierez 
 Jackal 
 
 Kaatskill 
 
 Ko-Chung-Kee 
 Kremlin 
 
 La Haie Saint e 
 
 Laissez Aller 
 
 Lanier (Sidney) 
 
 Lannes 
 
 Launcelot 
 
 Letitia 
 
 Lilliput 
 
 Lucius Pella 
 
 Lucius Tarquinius 
 
 wa-ken' 
 
 jon' goo-te-ar'-reth 
 
 jak'-al 
 
 cSts'-kill 
 
 (same as, c&ts-kill.) 
 
 ko'-chung'-ke' 
 krem'-lm 
 
 la-a/-san' 
 
 le-sa' za-la 
 
 la-neV 
 
 Ian 
 
 lan'-se-15t 
 
 le-tish'-I-a 
 
 hTI-put 
 
 lu'-shus pgl'-la 
 
 Mackay (Charles) 
 
 Mahlon 
 
 Malory (Thomas) 
 
 Malplaquet 
 
 Mandarin 
 
 Maraposa 
 
 Mars 
 
 Marseilles 
 
 Merced 
 
 Mercury 
 
 Mesha 
 
 Mevrouw 
 
 Midas 
 
 Miguel de Cervantes Saavedra 
 
 Milhaud 
 
 Mimer 
 
 Moab 
 
 Moabitess 
 
 Monadnock 
 
 Monteuil 
 
 Mont-Fichet 
 
 Mont Saint Jean 
 
 Moscow 
 
 Muir (John) 
 
 Mynheer van Gleck 
 
 Myrmidons 
 
 Nahl bo 
 Nan Kin 
 Naomi 
 Nautilus 
 
 lu'-shus tar-kwm'-i-us 
 
 ma-kl' 
 
 ma'-15n 
 
 mal'-o-ri 
 
 mal-pla-ka' 
 
 man'-da-rin 
 
 ma-re-po'-sa 
 
 marz 
 
 mar-salz' 
 
 mer-sad' 
 
 mer'-ku-r! 
 
 me'-sha 
 
 mev-roo' 
 
 ml'-das 
 
 me-gel' da ser-van'-tez sa-a- 
 
 va'-dra 
 me-lo' 
 me'-mer 
 mo'-5,b 
 mo-ab-It'-Ss 
 m6-n&d'-n5k 
 mon-twg'-I 
 mon'-fich-a' 
 mon s&n zhan' 
 mSs'-ko 
 mur 
 
 mln-har' van glSck' 
 mur'-ml-donz 
 
 nal'-bo' 
 
 n&n' kin' 
 
 na-o'-ml 
 
 no'-tl-lus 
 
 XIII 
 
Nivelles 
 Ney 
 
 Nokomis 
 Nottingham 
 
 Ocklawaha 
 
 Octavius 
 
 Ohain 
 
 Olympus 
 
 Ophelia 
 
 O'Reilly (John Boyle) 
 
 Orpah 
 
 Palatine 
 
 Pandora 
 
 Patroclus 
 
 Patti 
 
 Pawnee 
 
 Peary 
 
 Phaethon 
 
 Pharos 
 
 Phoebus 
 
 Phyllis 
 
 Pierre Loti 
 
 Plutus 
 
 Plymouth 
 
 Poitiers 
 
 Qui vive 
 
 Ragnar 
 
 Ramielles 
 
 Ratisbon 
 
 Remus 
 
 Reynard 
 
 Roche (James Jeffrey) 
 
 Roderick Dhu 
 
 Romulus 
 
 Rossetti 
 
 Rozinante 
 
 Samarcand 
 
 Samoa 
 
 Schwatka (Frederick) 
 
 St. Helena 
 
 Saint Vincent 
 
 Sancho Panza 
 
 Saracen 
 
 Sherwood 
 
 Siegfried 
 
 Sierra 
 
 ne-yel' 
 na 
 
 no-ko'-mis 
 nSt'-ing-am 
 
 ok-la-wa'-ha 
 
 ok-ta'-vi-us 
 
 o-an' 
 
 o-lim'-pus 
 
 6-ieV-ya. 
 
 o-rl'-li 
 
 or'-pa 
 
 pal'-a-tm 
 
 pan-do'-ra 
 
 pa-tro'-klus 
 
 pat'.-e 
 
 po-ne' 
 
 pe'-ri 
 
 fa'-e-thon 
 
 fa'-ros 
 
 fe'-bus 
 
 fil'-is 
 
 pe-air' lo'-te 
 
 ploo'-tiis 
 
 piim'-Qth 
 
 pwa-tya/ 
 
 ke-vev' 
 
 rag'-nar 
 
 ra-me'-ye' 
 
 rat/-is-bon 
 
 re'-mus 
 
 ra'-nard 
 
 roch 
 
 rod'-er-ik doo' 
 
 rom'-u-lus 
 
 ros-set'-te 
 
 roz'-i-nan'-te 
 
 sam'-ar-kant' 
 
 sii-mo'-a 
 shwoV-ka 
 sant he-le'-na 
 sant vm'-sent 
 san'-ko pan'-za 
 sar'-a-sen 
 sher'-wood 
 seg'-fred 
 si-er'-a 
 
 XIV 
 
Siren 
 
 
 sr-ren 
 
 Soignes 
 
 
 swan-ye' 
 
 Southey (Robert) 
 
 siith'-i 
 
 Styx 
 Switzerland 
 
 
 stix 
 swit'-zer-land 
 
 Syrian 
 
 
 sir'-i-an 
 
 Templestowe 
 
 
 tem'-pl-sto 
 
 Tevsotdale 
 
 
 te'-vi-ut-dal 
 
 Tiber 
 
 
 ti'-bur 
 
 Ti-ra-wa 
 
 
 ti-ra'-wa 
 
 Trafalgar 
 
 
 traf-al-gar' 
 (or) tra-fal'-gar 
 
 Triton 
 
 
 -tri'-ton 
 
 Trowbridge (J. 
 
 T.) 
 
 tro'-brij 
 
 Tsi Ann 
 
 
 tse' an' 
 
 Tuscurnbia 
 
 
 tus-kum'-bi-a 
 
 Ulysses 
 
 
 u-lis'-ez 
 
 Ute 
 
 
 ut 
 
 Van Diemen's 
 
 (Land) 
 
 van de'-menz 
 
 Vailima 
 
 
 va-e-le'-ma 
 
 Vive Piimpereur 
 
 veV lan-prur' 
 
 Vulcan 
 
 
 vui'-kan 
 
 Wacrras eit 
 
 
 wa-choo'-set 
 
 Wah-wah-taysee 
 
 wa'-wa-ta'-se 
 
 Waldemar 
 
 
 ' val'-de-mar 
 
 Wathier 
 
 
 va-ti-a' 
 
 Wawona 
 
 
 wa-wo'-na 
 
 Wyss (Johann Rudolf) 
 
 vis 
 
 Yokohama 
 
 
 vo-ko-ha'-ma 
 
 Yorkshire 
 
 
 / 1 * 
 
 yon-: -shir 
 
 Yosemite 
 
 
 yo-seni'-i-te 
 
 Zamor 
 
 
 za'- nior 
 
 Zeus 
 
 
 zus 
 
 Zodiac 
 
 
 zo'-di-ak 
 
 Zitkala Sa 
 
 
 zit-ka'-la sha' 
 
 Zuyder-Zee 
 
 (Di 
 
 zl'-der-ze' 
 itch) zoi'-der-za' 
 
 XV 
 
A NEW READING NOTE-BOOK 
 
 ABBEY, HENRY 
 
 Lives at Rondout, New York, where he was born in 
 1842. Journalist and contributor to various periodicals 
 and magazines. Poet of easy style and considerable 
 suggestiveness. Collected edition of his works published 
 by D. Appleton & Co., New York. "The Critic," speak- 
 ing of his work, said: "He tells a story well, finds a poetic 
 moral in more than one classic theme, and discovers 
 much that belongs to poetry in plain wayside life. One 
 would wish sometimes for a little more rigid exclusion of 
 material which can be treated better in prose than in 
 verse." 
 
 ABOU BEN ADHEM AND THE ANGEL 
 
 (Hunt — IV — 165.) Written after the manner of an ori- 
 ental fable. What impression do you have of Ben Adhem 
 from such expressions as "May his tribe increase!" 
 "Awoke from dream of peace," "exceeding peace had 
 made Ben Adhem bold"? What was the angel doing? 
 What two questions did Ben Adhem ask? Was he dis- 
 appointed at the second answer? Can you tell why he 
 "spoke more low" in answering? Would it take much 
 courage to speak "cheerily"? What did Ben Adhem learn 
 when the angel' came again? Note that love of the Lord 
 is tested by love of our fellow men. 
 
 He prayeth best who loveth best 
 All things both great and small. 
 
 —Coleridge. 
 
Deep dream of peace. . .exceeding peace. Both ex- 
 pressions suggtfsl quiel and repose of spirit, easy or clear 
 conscience. So powerful is this feeling in Abou that it 
 Lakes away the fear of the supernatural.— Sweet accord. 
 Perfecl harmony. A unity with the divine will which 
 expresses itself in the angelic look.— Ben. This word, 
 which is seen so often in Oriental names, means "sun of." 
 
 The following helpful suggestion by Prof. Clark is taken 
 from "The inland Educator" for August,i8o9. It may 
 be practiced in connection with almost any piece of lit- 
 erature and is given here because he illustrated his idea 
 from this poem, 
 
 "The purpose of paraphrasing expansively is to make 
 the thoughl and feeling clearer and more real by dwelling 
 upon the words of the author. A very common habit in 
 
 school and ""I of it, is to read without thinking-. To 
 
 overcome this habit, and consequently to improve the 
 oral expression, the pupil should take each thoughl and 
 hold it I" fore the mind until the picture stands out 
 clearly, li is remarkable how many details will t;row 
 clearer and clearer, and further, how the feeling will be 
 increased, as the ideas gel possession of us . . . Let ns 
 
 take .in illustration, to show how the paraphrase will 
 
 assist us to gel the Eeeling . . . 
 
 The Angel wrote and vanished The next night 
 It came again with a greal wakening light, 
 
 And showed the names whom love of God had blest, 
 Ami lol Ben Adluin's name led all the rest. 
 "The average child will be likely to read the con- 
 clusion as if it contained a simple statement of fact. 
 
 But we know it should contain' far more than this. It 
 
 should in. Mill, i .1 certain joy and elevation of feeling. 
 growing out of our sympathy with Abou. How shall 
 we make this clear to the child? Shall we tell him to be 
 joyful? Shall we tell him to raise his voice? Under 
 favorable circumstances such suggestions may be help- 
 ful, but they are certainly not educative. Let US, SO to 
 
 speak, open out the thought ^i the lines for him, and 
 
 lei ns endeavor to reach his feeling in this way, striving 
 
thus to develop thai true principle which must lie at the 
 
 basis of .'ill emotional expression. 
 
 "Let us first get the child to grasp clearly Alton's dis- 
 appointment upon discovering thai his name was not, on 
 
 the occasion of tlic angel's first visit, written in the book 
 of gold. Let him understand that even he, the pupil, 
 appreciates the nobility of good deeds, and in this way 
 arouse a certain sympathy for Ben Adhem, This by way 
 of preparation. Then comes the second visit. I low in- 
 tently the good man regards the angel, and how earnestly 
 he Scans the angel's list! Mas his life been a failure? 
 
 [las lie misunderstood God's message to men? P,ut, see! 
 at the head of the list is Ben Adhem's name. Oh! the 
 
 joy of it to Ren Adhem; and the joy to us, who sympa- 
 thize with him. It is this joy that gets into the voice as 
 we read the last two lines, and this joy mifcht be ex- 
 pressed in the paraphrase 'And lo! — and how I rejoice to 
 tell it! — Ben Adhem's name, — the name of this lovable 
 man whose life had been devoted to well doing, his name, 
 think of it! Should his life not be an encouragement to 
 us? — his name led all the rest.' 
 
 "Such practice as that suggested above should be a 
 
 part of OUr teaching from the beginning and should be 
 continued until the pupils form correct habits of inter- 
 pretation." 
 
 ADDISON, JOSEPH 
 
 T.orn May t, 1672, at Milston, in Wiltshire, England. 
 Educated at Charter Mouse, and at Queen's College, Ox- 
 ford, with a notable reputation as a classical scholar. In 
 1600 he was granted a pension of 300 pounds by the 
 Crown, the object being to allow him to prepare, by 
 
 menus of travel, for participation in state affairs. Tin- 
 loss of power by the whigs upon the accession <>f Queen 
 Anne in 1702, caused Addison's pension lo cease, and left 
 him in the position of a mere literary "hack." Mis oppor- 
 tunity came, however, with the famous victory of Marl- 
 borough at Blenheim, which Addison, by in vit ;it ion, cele- 
 brated in the poem called "The Campaign." From this 
 time on he was a great central figure in the intellectual 
 
and political life of his time. An opera, "Rosamund," 
 and a tragedy, "Cato," were famous in his day though 
 little read at present. 
 
 Addison's fame, however, rests secure upon his famous 
 periodical, "The Spectator." The age of Queen Anne 
 was the age of pamphleteering. The modern newspaper, 
 with its marvelous facilities for gathering and disseminat- 
 ing what was going on in the world was still far in the 
 future. "The Spectator," the best representative of its 
 class, was made up of essays upon the topics of the day 
 somewhat resembling the editorials found in the better 
 class of our newspapers. Richard Steele and other noted 
 writers of the day were associated with Addison in writ- 
 ing the material included in it. Their great object 
 seemed to be to serve as critics of the morals and man- 
 ners of their time. Addison states this object in these 
 words: "Since I have raised to myself so great an 
 audience, I shall spare no pains to make their instruction 
 agreeable and their diversion useful. For which reason I 
 shall endeavor to enliven morality with wit, and to tem- 
 per wit with morality. . . . And to the end that their 
 virtue and discretion may not be short, transient, inter- 
 mitting starts of thought, I have resolved to refresh 
 their memories from day to day till I have recovered 
 them out of that desperate state of vice and folly into 
 which the age has fallen. ... It was said of Socrates 
 that he brought philosophy down from Heaven to in- 
 habit among men; and I shall be ambitious to have it 
 said of me that I have brought philosophy out of closets 
 and libraries, schools and colleges, to dwell' in clubs and 
 assemblies, at tea-tables and in coffee-houses." 
 
 Benjamin Franklin in his "Autobiography" tells at 
 length how he endeavored to master somewhat of Addi- 
 son's fine, clear, prose style. This style is hardly ener- 
 getic enough to satisfy the twentieth century, but Addi- 
 son's place among the really great prose writers in our 
 language is safe. 
 
 The group of papers known as the "Sir Roger de Cov- 
 erly Papers" is the means by which most readers make 
 acquaintance with Addison. "It is perhaps not too 
 
sweeping to say that no writer between Shakespeare and 
 Fielding has portrayed so real or so delightful a charac- 
 ter as Sir Roger." 
 
 Addison died June 17, 1719, and was buried in West- 
 minster Abbey. 
 
 A convenient and reliable guide for the main outlines 
 of Addison's life and works is Courthope's "Life of Addi- 
 son," in the English Men of Letters series. Macaulay's 
 "Essay on Addison" is very stimulating. 
 
 Selection: V, 227. 
 
 AESOP 
 
 The most popular collection of fables handed down 
 from the past are those which are ascribed to the (sup- 
 posed) Greek slave Aesop. His history (even his exist- 
 ence) is uncertain, but he is said to have been born in 
 Phrygia about 620 B. C; it is also reported that he was 
 unusually ugly but so full of a certain droll wisdom that 
 he practically ceased to be a slave and was employed as 
 a. confidential adviser. The traditional story still further 
 relates that he lost his life on a mission with which he 
 had been entrusted by King Croesus, of ancient fame. He 
 was to distribute a large sum of silver to the citizens of 
 Delphi, but unable to find any plan of distribution that 
 1 would suit the jealous Delphians, he became disgusted 
 with the whole affair and sent the money back to the 
 king. The enraged Delphians threw him over a high 
 cliff, and thus he perished about 564 B. C. 
 
 The fables were net written down by Aesop but passed 
 along by word of mouth. This accounts for the great 
 variety in versions and in the number of the fables found 
 m different collections. The wide influence of fables is 
 not hard to account for. "Truth embodied in a tale shall 
 enter in at lowly doors." 
 Selections; II, 12: III, 56. 
 
 AFTER THE SHIPWRECK 
 
 (Defoe — IV — 42.) This selection is made up of most 
 of the sixth chapter of "Robinson Crusoe", with a few- 
 paragraphs from the opening of the seventh chapter. 
 
Children should be encouraged to read the entire story, 
 and generally all that is necessary is to put the book 
 somewhere within their reach. A good text is that in 
 the Riverside Literature series (sixty cents) which has 
 a splendid introduction, setting forth the genesis of the 
 story in terms that anyone can understand. "The truth 
 is, Defoe was filled with the grand conception of a man 
 stripped almost bare and set to reinstating himself." 
 
 By common consent this story ranks as one of the 
 masterpieces of fiction, and its simplicity and fundamen- 
 tal quality render it peculiarly adapted to educational 
 purposes. In fact the Herbartian school of pedagogy 
 makes this book the central fact in the work of the sec- 
 ond grade, and in the fourth chapter of Prof. Charles A. 
 ]\lcMurry's "Special Method in Primary Reading" the 
 qualities of the book that make it thus useful and the best 
 methods of bringing them before the children are fully 
 and clearly presented. (The teacher interested in the 
 problem of oral stories in the grades should have this 
 book. He will find it possible to use the interest awak- 
 ened by this episode given in the reader as a starting 
 point for many interesting stories of other things in 
 Crusoe's career.) In Crusoe's story the child pushes be- 
 yond the boundary of the fairy world and comes into 
 touch with the world of fact. The quoted passage from 
 Prof. McMurry suggests some phases of the Crusoe 
 problem: 
 
 "He is cut off from help and left to his own resources. 
 The interest of the story is in seeing how he will shift 
 for himself and exercise his wits to insure plenty and 
 comfort. With few tools and on a barbarous coast, he 
 undertakes what men in society, by mutual exchange and 
 by division of labor, have much difficulty in performing. 
 Crusoe becomes a carpenter, a baker and cook, a hunter, 
 a potter, a fisher, a farmer, a tailor, a boatman, a stock- 
 raiser, a basket-maker, a shoe-maker, a tanner, a fruit- 
 grower, a mason, a physician. And not only so, but he 
 grapples with the difficulties of each trade or occupation 
 in a bungling manner because of inexperience and lack 
 
of skill and exact knowledge. He is an experimenter and 
 tester along many lines. The entire absence of helpers 
 centers the whole interest of its varied struggle in one 
 person. It is to be remembered that Crusoe is no genius, 
 but the ordinary boy or man. He has abundant variety 
 of needs such as a child reared under civilized conditions 
 has learned to feel. The whole range of activities, usu- 
 ally distributed to various classes and persons in society, 
 rests now upon his single shoulders. If he were an ex- 
 pert in all directions, the task would be easier, but he 
 has only vague knowledge and scarcely any skilL The 
 child, therefore, who reads this story, by reason of the 
 slow, toilsome, and bungling processes of Crusoe in meet- 
 ing his needs, becomes aware how difficult and laborious 
 are the efforts by which the simple, common needs of all 
 children are supplied. * * * The lesson of toil and 
 hardship connected with the simple industries is one of 
 great moment to children. Our whole social fabric is 
 based on these toils, and it is one of the best results of 
 a sound education to realize the place and importance 
 of hard work. * * * Crusoe is a sort of universal man, 
 embodying in his single effort that upward movement 
 of men which has steadily carried them to the higher 
 levels of progress. * * * Such parts of the story as 
 are of most pedagogical value should be simplified and 
 woven together into a continuous narrative. That part 
 of the. story which precedes the shipwreck may be re- 
 duced to a few paragraphs which bring out clearly his 
 early home surroundings, his disobedience and the de- 
 sertion of his parents, and the voyage which led to his 
 lonely life upon the island. The period embraced in his 
 companionless labors and experiences constitutes the im- 
 portant part for school uses. A few of the more impor- 
 tant episodes following the capture of Friday and his re- 
 turn home may be briefly told." 
 
 These quotations are given with the hope that they 
 may lead the teacher to do more with this great book 
 than is possible v/ith the brief passage in the reader. 
 
Keeping clearly in mind the fact that Crusoe had been 
 cast upon the island with nothing, notice how he "used 
 his wits" to get what he needed most from the wrecked 
 ship. How did he get to the ship? How did he get on 
 board? What did he get together to take ashore? How 
 did he get it all ashore? Did he use good judgment at 
 all points? What of his clothes? How did he remedy 
 his error? 
 
 AGREED TO DISAGREE 
 
 (Dayre — III — 200.) What agreement is made in the 
 first stanza? What was the cricket's idea of a fine place 
 in which to live? What objection did the mouse make? 
 What did the bumbleebee suggest? Why did this not 
 suit the cricket? What was the mouse's ideal of a home? 
 W T ho found fault with this? So, what did each do? We're 
 they better off this way? (Notice how much wiser they 
 are than human beings sometimes are. Did you ever hear 
 of a person who wanted others to do as he did, and 
 think as he thought, and who was very "intolerant" of 
 those who disagreed with him? Human beings are not 
 alike. Each one has his own individuality and this must 
 be respected. The mouse, the cricket and the bumble- 
 bee, did not go about telling mean stories about each 
 other's unreasonableness. Each "lived his own life" in 
 the true -meaning of that expression and they all "re- 
 joiced in the sweet spring weather.") 
 
 ALCOTT, LOUISA MAY 
 
 Born November 29, 1832, at Germantown, Pa. Daugh- 
 ter of Amos Bronson Alcott, widely known in his day as 
 a philosopher of the transcendental school. Louisa was 
 a teacher and the author of some stories of "harmless 
 sensation" in her younger days. During the war she was 
 an army nurse. Her first important book was "Little 
 Women," published in 1868, and this has remained the 
 most popular, as it is perhaps the best, of her stories. 
 Other books, with which she followed up that great suc- 
 cess, are "Little Men," "An Old-Fashioned Girl," and 
 "Jo's Boys." Her books have always appealed strongly 
 
to young people, particularly to girls. They are full of 
 the fine, hopeful qualities that do so much to instill high 
 ideals of life and character in the young, and abundantly 
 justify the wide reading they have received. Her later 
 life was full of suffering from ill health. She died at 
 Boston, March 6, 1888. Selection; V, 70. 
 
 ALDRICH, THOMAS BAILEY 
 
 Born November 11, 1836, at Portsmouth, N. H. His 
 
 boyhood was spent partly in New England, and partly in 
 
 Louisiana. After a few years in business in New York, 
 
 he devoted himself to journalism and literature. From 
 
 1881 to 1890 he was the editor of "The Atlantic Monthly." 
 
 His fame perhaps rests mainly on his poetry, which is 
 
 peculiarly graceful and finished, though it lacks certain 
 
 larger qualities that appeal to the multitude. Aldrich 
 
 has, therefore, always appealed to a smaller audience than 
 
 Longfellow and Lowell. Among the best known of his 
 
 poems may be mentioned "The Ballad of Babie Bell" 
 
 and "Judith." This latter, the story of the famous heroine 
 
 of the apocrypha Aldrich made into a drama in 1903 and 
 
 it met with considerable success on the stage. Aldrich 
 
 was also the author of several prose works distinguished 
 
 by the same 'delicacy which marks his poetry. Best known 
 
 of these is "Marjorie Daw." Another is the "Story of a 
 
 Bad Boy," one of the most successful attempts to record 
 
 the real life of a boy. Aldrich died at Boston in 1907. 
 
 Selection: V, 9. 
 
 ALICE IN WONDERLAND 
 
 (Carroll— IV — 149.) This selection comprises the first 
 half of the fifth chapter of "Through the Looking Glass," 
 called "Wool and Water," with a few adaptations. The 
 title given is misleading as it seems to suggest that the 
 passage is from the more famous book called "Alice in 
 Wonderland." Lewis Carroll is the pseudonym of the 
 greatest nonsense writer in the language, and the tre- 
 mendous cleverness upon which nonsense depends for its 
 charm was partly indicated by the writer in the frequent 
 
use of italics. It is sometimes very difficult to read the 
 speeches correctly without the aid of some such guide. 
 The following-, printed as originally written, will illustrate: 
 
 "Well, I don't want any to-day, at any rate." 
 
 "You couldn't have it if you did want it," the Queen 
 said. "The rule is, jam to-morrow and jam yesterday — 
 but never jam to-day." 
 
 "It must come sometimes to 'jam to-day.' " Alice ob- 
 jected. 
 
 "No, it can't," said the Queen. "It's jam every other 
 day; to-day isn't any other day, you know." 
 
 It will be an interesting experiment to try to locate 
 these emphatic words throughout the selection, and the 
 ability to do so will depend upon one's ability to catch 
 clearly the whimsical idea that pervades it. Why was 
 Alice so confused? Notice that the opening passage takes 
 the reader easily from this world with its known laws 
 into the realm of Wonderland where there is a reversal 
 that keeps one more than guessing. Name in order the 
 items about which Alice was "mixed up" beginning with 
 the pun on the word "addressing." A selection like this 
 stimulates the fancy and is good to remove the "crinkles" 
 that come from the too great tyranny of facts. (Since 
 both of Carroll's famous books can be had in very cheap 
 editions, encourage children to read them outside of class.) 
 
 AMERICAN FLAG, THE 
 
 (Drake — IV — 242.) This selection consists of the first 
 twelve lines of the poem entitled as above. Its object 
 is to express the splendid significance of the flag and in 
 order to do this imagery of a high-flown order is used, — 
 imagery that suggests that the heart of the whole uni- 
 verse itself is bound up in the combinations that make 
 the flag. Notice the personification in the opening line. 
 Where does Freedom dwell? This conception of Freedom 
 as a mountain nymph is common in poetry. How were 
 the stars arranged? the white stripes? the red? Read 
 these lines over and over until the splendid color scheme 
 of the heavens is vividly before the eye. Note the color 
 
 10 
 
words, — azure, milky, etc. Into whose hands was the flag 
 given? Do you see why Jupiter is indicated by calling 
 him the "eagle bearer" instead of by naming him? If you 
 have a manual of mythology at hand and will read what 
 it says of Jupiter (Zeus) you may be able to see why he 
 is called "mighty" and why he is a fit bearer of "the 
 symbol of her chosen land." See if you can determine the 
 special fitness of expressions like "robe," "gorgeous dyes," 
 "milky baldric" (why is that better than "milky way"?), 
 "streakings." 
 
 ANDERSEN, HANS CHRISTIAN 
 
 Born at Odense, Denmark, April 2, 1805; was very 
 poor as a youth and was educated at the public expense, 
 showed great talent early as a writer, and is the author 
 of several romances of merit. He is, however, known to 
 the world mainly as the author of a collection of tales 
 for children which have been translated into many lan- 
 guages. He is called "the children's friend." A splendid 
 collection of his stories for children is found in the River- 
 side Literature series published by Houghton, Mifflin & 
 Co., Boston, Mass. Died in Copenhagen, August 4, 1875. 
 Selections: II, 108; III, 32, 237; IV, 25. 
 
 ANDREWS, MARY RAYMOND SHIPMAN 
 
 A writer of fiction living at Syracuse, N. Y. Among 
 longer stories she has written "Bob and the Guides" and 
 "The Militants." She is most widely known as the author 
 of "The Perfect Tribute,." most of which is given in the 
 fifth reader (page 347). 
 
 ARBUTUS, THE 
 
 (Mulets— III— iQ2.) Can you tell, after reading the 
 story through, in what part of the United States this lit- 
 tle girl lived? Why was the arbutus an appropriate gift 
 for Phyllis? If von have never seen the Arbutus, try 
 to determine from the picture and from the text just how 
 it looks. In what kind of places does it grow? Why do 
 you suppose Whittier called these flowers "The first sweet 
 smiles of May"? 
 
 11 
 
ARIEL'S SONG 
 
 (Shakespeare— IV — 4.) Ariel was the ethereal spirit 
 by means of whom Prospero brought about his deeds of 
 magic in the play called "The Tempest." This song is 
 found in Act V, scene I, and expresses Ariel's sense of 
 pleasure on hearing Prospero's promise to give him his 
 freedom as soon as one more important event is brought 
 about. It is hard to reduce it to meaning, in fact it con- 
 tains one or two passages about which there has been 
 much dispute. Commit it to memory and try to read it 
 in the light, airy, happy manner that a being like Ariel 
 would use as he sings. Notice that Ariel's idea of hap- 
 piness is to rest in the midst of the blossoms of a per- 
 petual summer, and that he proposes to follow Summer 
 as it moves to other regions, using "the bat's back" as 
 his vehicle for travel. Point out the expressions in the 
 song that show the above is true. (Scientists tell us that 
 bats do not migrate, but become torpid in winter. Do 
 you suppose Shakespeare didn't know this, or didn't care?) 
 If the teacher is familiar enough with "The Tempest" to 
 tell the children some of the chief doings of Ariel, it 
 will help them get into the spirit of this song. 
 
 ARNOLD, MATTHEW 
 
 Born at Laleham, near Staines, England, December 24, 
 1822. His father was the famous Dr. Arnold, head-master 
 of Rugby. He was educated at Rugby and at Oxford. In 
 1851 he was appointed to an inspectorship of schools and 
 held the position until 1885. In this trying position he 
 gave much energy to setting examinations and grading 
 papers, that might have gone into better work for the 
 human race if he had not been under the necessity of 
 such drudgery in order to make a living. He was Pro- 
 fessor of Poetry at Oxford for a time, lectured in the 
 United States, and was finally granted a pension for his 
 services to literature. He died suddenly of heart-failure, 
 April 15, 1888. 
 
 Many of Arnold's papers on school matters were model 
 reports and are yet stimulating reading. His poetry is 
 
 12 
 
limited both in amount and in the scope of its subject- 
 matter. It is pervaded by a melancholy tone, and lacks 
 the bouyant tone of a Tennyson, or the energy of a 
 Browning. The little poem called "Dover Beach" is 
 often regarded as his masterpiece. Other well-known 
 poems are "The Forsaken Merman," "Sohrab and Rus- 
 tum," "The Scholar Gypsy," "Resignation." 
 
 Arnold's authority as one of the sanest critics of mod- 
 ern times is almost universally recognized. A number 
 of volumes written in a very fine prose style contain his 
 opinions on literature and on life. Among them may be 
 mentioned "Essays in Criticism" (First and second series), 
 "Literature and Dogma," "Culture and Anarchy." 
 
 Selection: V, 321. 
 
 ARROW AND THE SONG, THE 
 
 (Longfellow — IV — 60.) In Longfellow's journal, under 
 date of November "16, 1845, appears this entry: "Before 
 church, wrote 'The Arrow and the Song,' which came 
 into my mind as I stood with my back to the fire, and 
 glanced onto the paper with arrowy speed. Literally an 
 improvisation." The poem was published in Longfel- 
 low's fourth volume, "The Belfry of Bruges and Other 
 Poems," which appeared in the latter part of 1845. The 
 poem is a splendid embodiment of the idea that the most 
 unconsidered and aimless deeds may have the most im- 
 portant and far-reaching consequences. In it Longfellow 
 uses that favorite device of the poets, the presentation 
 of truth by means of analogy. The first stanza tells of 
 the sending forth of the arrow and what the poet thought 
 became of it. The second, under the imagery of the 
 arrow, tells of the sending forth of the song, or poem, 
 and what happened to it. The third stanza indicates the 
 error made, and tells what actually happened to both the 
 arrow and the song. What four things are stated about 
 the arrow in stanza 1? [(1) Sent forth into the air, (2) 
 flew swiftly, (3) passed out of sight, (4) fell to earth.] 
 What made the poet think the arrow fell to earth? Ob- 
 serve that the order in which the above items are stated 
 
 13 
 
is not the order in which they are given in the stanza. 
 What points given in stanza 2 about the song, parallel 
 those already given about the arrow? Is it natural to 
 suppose that under the circumstances the song "fell 
 to earth," that is, had no effect of any kind? After read- 
 ing stanza 3, what correction must be made in the points 
 given .about both the arrow and the song? What had 
 happened to the arrow? to the song? Do you think all 
 deeds, however aimless, have consequences if we could 
 but know? Ar>d if so, ought a recognition of that fact to 
 increase our sense of responsibility? 
 
 ARTHUR'S PRAYER 
 
 (Hughes — IV — 141.) This selection is a portion of the 
 first chapter of the second part of "Tom Brown's School 
 Days," with some editorial adaptations. Thoma.3 Hughes' 
 "Tom Brown's School Days" and "Tom Brown at Ox- 
 ford" are two of the most noted books for boys of the 
 last century and if accessible should be recommended for 
 complete reading. The first is particularly fine for a pic- 
 ture of the life at a large public school for boys in Eng- 
 land, as it used to be, a life that is very foreign to any- 
 thing that is found in America. The book also gives a 
 splendid account of the wonderful influence exerted upon 
 his boys by the great Head Master, Dr. Thomas Arnold. 
 Notice that he is referred to in the selection given in the 
 reader. 
 
 The chapter quoted from has as its title, "How the 
 Tide Turned," and sets forth a crisis and a turning point 
 in Tom Brown's life. This is indicated by the mottoes 
 selected by the author for the second part and for the 
 first chapter. The motto for Part II is from Tennyson 
 and is given in this form: 
 
 "I (hold) it truth, with him who sings 
 To one clear harp in divers tones, 
 That men may rise on stepping-stones 
 
 Of their dead selves to higher things." 
 
 The chapter motto is from Lowell's "The Present 
 Crisis": 
 
 14 
 
"Once to every man and nation, comes the moment to 
 
 decide, 
 In the strife of Truth with Falsehood, for the good or 
 
 evil side: 
 
 Then it is the brave man chooses, while the coward 
 
 stands aside, 
 Doubting in his abject spirit, till his Lord is crucified." 
 
 Study these two quotations carefully and then try to 
 state their connection with the events told in the selec- 
 tion. Describe the scene at the beginning. Do you know 
 how Arthur felt? Try to make it clear. What appeal 
 did he make to Tom? What especially centered the atten- 
 tion of the boys on Arthur? What roused Tom to in- 
 dignant action? After all had retired why could Tom not 
 go to sleep? Try to state the terms of his problem or 
 conflict. What was the result of all his thinking? Did he 
 do a very difficult thing? Why was it difficult? What 
 was the great lesson he learned? 
 
 Jackets. A short coat. Jackets for boys throughout 
 the first half of the nineteenth century came only to the 
 waist. — Snivelling. Whining. Used as a term of the ut- 
 most contempt. — Sixth form. The word "form" refers to 
 a class or rank of pupils, somewhat as our word "grade" 
 does. — Rugby. One of the most famous of the preparatory 
 schools of England. — Arnold. Thomas Arnold (1795- 
 1842) was head-master at Rugby from 1828 until his death. 
 — A still, small voice. See I Kings, 19, 12. — Words of the 
 publican. See Luke, 18, 10-14. — Conquered his own cow- 
 ard spirit. See Proverbs, 16, 32. 
 
 AT MORNING 
 
 (Stevenson — IV — 155.) One of the best known and 
 most suggestive of the prayers composed by Robert Louis 
 Stevenson for the family altar in his far-away home in the 
 Southern Pacific. Commit to memory and try to make its 
 brave spirit your own. W T hat are the things that are peti- 
 tioned for? 
 
 15 
 
AT THE MONUMENT 
 
 (Nicholson — V — 210.) This poem is a good example of 
 the sonnet. A sonnet is a poem of fourteen lines, with a 
 certain arrangement of the rimes. The lines are arranged 
 in two groups: (1) A major group of eight lines, called 
 the octave, made up of two quatrains, (2) a group of six 
 lines, called the sextette, made up of two tercets, or three- 
 line groups. The rime scheme is as follows: abba, 
 abba; cdcdcd. 
 
 The octave tells a little story, or presents a situation. 
 The sextette draws a conclusion, or indicates the signifi- 
 cance of the situation. What is the story told in the 
 opening lines? What kind of monument is referred to? 
 The events that are commemorated mean no more to the 
 child than "some fable of the skies"; why? The sextette 
 answers this question. Why is the speaker moved by 
 what he notices? The inability of the child to realize 
 the realities, the tragedy, of human life, shows that she 
 is akin to Wordsworth's "little cottage maid" who could 
 not realize the fact of death. With years will come the 
 disillusionment. She is now in "sweet ignorance of 
 wounds and scars." What does the monument mean to 
 her? 
 
 BALDWIN, JAMES 
 
 An American author and compiler of text-books. Born 
 in Hamilton County, Indiana, 1841. Educated in the com- 
 mon schools, teacher, and superintendent of schools at 
 Huntington, Ind. Was connected with the educational 
 department of Harper & Bros., 1887-90; assistant editor 
 of Harper's Magazine, 1890-93; school-book editor for 
 the American Book Co., 1893 — . In addition to various 
 books of an educational nature he compiled two of the 
 most widely known series of readers, Harper's Readers 
 and the Baldwin Readers. 
 
 Selections: II, 152; IV, 158. 
 
 BANKS, GEORGE LINNAEUS 
 
 An English poet, orator, and journalist, born in 1821, 
 died in 1881. He published several volumes of verse, some 
 
 16 
 
plays and burlesques, many popular songs, and a well- 
 known poem, entitled "What I Live For," one stanza of 
 which is given in the third reader (151). This poem 
 has often been ascribed (wrongly) to other authors. 
 
 BARBAULD, ANNA LETITIA 
 
 An English poetess of some note, and the author of 
 several books for children. She was born in Leicester- 
 shire, June 20, 1743, and died at Stoke Newington, March 
 5, 1825. Selection: IV, 152. 
 
 BAREFOOT BOY, THE 
 
 (Whit tier— IV— 224.) This is one of the best known of 
 Whittier's poems, simple m style, and throwing a halo of 
 wonder and romance about the simple joys of boyhood. 
 Who is ihe speaker? Is the poem written from the stand- 
 point of the boy or from that of a man who has long 
 passed beyond his childhood? The poem certainly re- 
 flects the feelings of a man of middle-age, who, in the 
 midst of his trials and troubles, comes across a happy 
 youngster, as yet innocent of the difficulties of life. If 
 so, why have this poem in a book for children? It is 
 a well established fact that we do not always realize our 
 blessings at the moment of possession, and the poem 
 ought to stir the reader to a fuller consciousness of the 
 joys that are really his. 
 
 Ere it passes, barefoot boy!" 
 "Ah! that thou couldst know thy joy, 
 Describe the boy as he appears in the first paragraph. 
 Dees the poet make you see him clearly? What is meant 
 by "kissed by strawberries"? Note that the second para- 
 graph asserts the superiority of the boy's situation to that 
 of the "grown-up" and to the millionaire possesor of this 
 world's goods. The grown-up man is only one among 
 many equals; the boy is free from limitations, — a prince. 
 In what does he surpass the "million-dollared"? 
 
 In the third, fourth, and fifth paragraphs the speaker 
 expresses his longings for the splendid possessions of the 
 boy, and in a way realizes his desires by losing himself in 
 
 17 
 
the joys mentioned. The third paragraph points out that 
 the boy is "part and parcel" of the joy of nature. What 
 four gifts are mentioned under this head? (i. Play, what 
 kind? 2. Sleep. Explain "that wakes in laughing day." 
 3. Health. How does it mock "the doctor's rules"? 4. 
 Knowledge. What kind of knowledge?) Do you know 
 all the things that this boy knew, as, for instance, "how 
 the tortoise bears his shell"? or how the hornet's nest is 
 built? If you do not, maybe by a little closer attention 
 and observation you could get closer to nature than you 
 are. 
 
 The fourth paragraph expresses the sense of owner- 
 ship on the part of the boy toward everj'thing around 
 him. The world is a "complex Chinese toy" made for him. 
 To what month of the year is the period when this feel- 
 ing exists likened? Why? Mention the experiences 
 which contributed to this sense of complete ownership? 
 (Apples of Hesperides. A reference to one of the twelve 
 labors of Hercules, in which he secured the golden ap- 
 ples from the garden guarded by the hundred-headed ser- 
 pent. Read the story in Hawthorne's "Wonder Book.") 
 
 The fifth paragraph describes the glories attending the 
 close of the day of busy enjoyment, — the feast and its 
 joyous pomp. Picture the scene clearly. Where is the 
 boy? What is he doing? Notice the sunset colors. In- 
 dicate the parts of the "regal tent." Notice that all this 
 pomp, — the banquet, purple curtains, orchestra, brilliant 
 illumination is explained by the presence of the "mon- 
 arch." Notice that the speaker has gradually lost sight 
 of the fact that he is "grown-up" and has lost himself in 
 the remembered experiences of his boyhood. 
 
 In the final paragraph are certain exhortations and good 
 wishes. Certain unpleasant experiences that are sure to 
 come are hinted at. Have you ever tried to walk over a 
 "flinty slope" or a "new-mown sward"? Can you think 
 of things in life that such experiences may typify? What 
 is meant by "prison cells of pride"? Would one who had 
 never gone barefooted realize the meaning of this? The 
 hope is expressed in closing that these feet may never 
 
 18 
 
be on "forbidden ground" and may not sink in "quick and 
 treacherous sands of sin." Try to put in your own lan- 
 guage what these expressions mean. 
 
 This poem has no regular stanza structure. The lines 
 are four measures in length, the measure used being 
 trochaic. The last measure lacks the unaccented syllable. 
 The rhythm is indicated by the following: 
 
 Bless'ing | on' thee, | lit'tle | man' 
 Bare'foot I boy', with I cheek' of I tan' ! 
 
 BATTLE OF THE ANTS, THE 
 
 (Thoreau— V— 34.) This passage is from "Walden," 
 the most widely read of Thoreau's books. The book gets 
 its name from the pond on the shores of which Thoreau 
 lived for a time. The record of his experiences, the facts 
 of his every day life, but especially of his thoughts and 
 feelings, constitute the material of his book. "Walden'* 
 was published in 1854. The Battle of the Ants is one of 
 the familiar pasages and has been used in many readers 
 with slight changes, as in this case, from the original. 
 
 "The style of this piece is an imitation of the heroic 
 style of Homer's Tliad,' and is properly a 'mock-heroic' 
 The description of the affairs of the ants with the same 
 elevated style that one would treat the affairs of men 
 gives the effect of a 'quiet humor.' This is, in fact, often 
 a characteristic of Thoreau's style. His 'A Week on the 
 Concord and Merrimac Rivers' borrows its grandeur of 
 style from Homer's 'Odyssey' to describe the unromantic 
 incidents of a ride in a small boat down a small, slug- 
 gish river, for a few miles. The intention of the author is 
 twofold: half seriously endowing the incidents of every- 
 day life with epic dignity, in the belief that there is noth- 
 ing mean and trivial to the poet and philosopher, and that 
 it is the man that adds dignity to the occasion, and not the 
 occasion that dignifies the man; half-satirically treating 
 the human events alluded to as though they were non- 
 heroic, and only fit to be applied to the events of animal 
 life." 
 
 19 
 
Follow carefully all the happenings told of. Have you 
 ever studied the habits of ants? It is worth while to 
 spend some time when you have accidentally disturbed 
 an ant hill, in watching the tremendous energy displayed 
 as the members of the tribe hurry about, each one appar- 
 ently with some important work to do. It will not be 
 difhcult to get to the point where you can say with 
 Thoreau: "I was myself excited somewhat even as if they 
 had been men. The more you think of it, the less the 
 difference." 
 
 Duellum. A Latin word meaning a fight between two 
 persons. — Bellum. The Latin for war, and as the context 
 here shows, meaning a fight between two nations, or par- 
 ties. — Myrmidons. According to legend the warlike race 
 over which Achilles ruled. They accompanied him to 
 Troy. — Internecine. Terribly destructive. — Red republic- 
 ans . . . black imperialists. Thoreau alludes to the 
 French Revolution. The first were the revolutionists, the 
 second those in favor of the Empire. Red has always 
 been the symbol of freedom. — To go by the board. A 
 term borowed from sea life, meaning to go over the side 
 of the ship. What does it mean here? — With his shield 
 or upon it. The Spartan mother, the legend goes, gave 
 her son a shield when he was ready to start to war, with 
 these instructions. It suggests that no disgrace was 
 greater than to return alive, having lost the battle. — 
 Achilles. In the "Iliad" we are told that Achilles sulked 
 in iiis tent on account of what he deemed an injustice at 
 the hands of the Greek commander. When he heard that 
 his dear friend Patroclus had been killed, he vented his 
 wrath and fury on Hector and the Trojans. — Austerlitz or 
 Dresden. Two of the great battles of the Napoleonic 
 wars, the first fought in Dec. 1805, and the second in Aug. 
 !8i3- — Concord Fight. For numbers and carnage, as 
 Thoreau indicates, not to be mentioned as a parallel. The 
 names are those of participants in the Concord fight; 
 Davis and Hosmer the two men killed, Butterick, the 
 commander. — Three-penny tax. Review the history of the 
 Boston Tea Party. — Carbuncles. His protruding eyes 
 
 20 
 
glistened like the stone of that name.— Trophies at his 
 saddlebow. Whittier in "Snow Bound" tells of a certain 
 band of Greeks, who, during the war against Turkey, in 
 1821, rode with "A Turk's head at each saddle bow." 
 Thoreau refers to some such story. 
 BEECHER, HENRY WARD 
 
 .Born in Litchfield, Conn., June 24, 1813. He was edu- 
 cated for the ministry and after pastorates at Lawrence- 
 burg and Indianapolis, Indiana, was called to Brooklyn, 
 where he labored the rest of his life. During the Civil 
 War he did the nation great service in England. In ad- 
 dition to his published sermons and newspaper writings 
 he wrote a novel called "Norwood" from which two or 
 three passages have often been used in readers. An adap- 
 tation of one of these passages is found in the second 
 reader, page 58. Beecher died March 8, 1887. 
 
 BEHIND TIME 
 
 (Hunt — V — 20.) A good example of a concrete sermon. 
 What catastrophe is told of in the first paragraph? To 
 what was it due? What was the situation in the great 
 battle referred to in the second paragraph? What was 
 the result? State the commercial catastrophe told of in 
 the third paragraph? What caused it? What is the con- 
 clusion from these illustrations of what is constantly 
 taking place in life? What is the positive virtue that 
 should be cultivated? Comment on the statement: "Five 
 minutes in a crisis is worth years." 
 
 BENNETT, HENRY HOLCOMB 
 
 A magazine writer living in Chillicothe, O., where he 
 was born in 1863. Has written extensively in regard to 
 army life in the West, where he lived for several years, 
 and also on bird and animal topics. He is a water color- 
 ist of merit and illustrates his own articles. Selection: 
 HI, 157. 
 BETTER WAY, THE 
 
 (Anon. — III — 182.) A very simple little poem, that 
 should be committed to memory. The first four lines in 
 
 21 
 
each stanza state the point at issue without any figura- 
 tive language. The last two lines in each stanza use very- 
 suggestive images to picture the thought. The unkind 
 thing has the same effect upon the spirits as the gather- 
 ing clouds upon the sunny day. Why use the word 
 "leaden"? The pleasant report is compared in its effects 
 to the lighting up of the cloudy day. Why use the word 
 "golden"? Do you agree with what the poem says about 
 good and evil report? If you know of anyone who needs 
 the lesson of this poem you might try to take it to him. 
 
 BIG GAME 
 
 (Murry-Aaron — IV — 85.) An information lesson in 
 study of which certain facts about alligators are brought 
 out. What are these facts? The selection is written on 
 a familiar plan, that of having some young folks who do 
 not know much take a trip with a wise man who lectures 
 to them and demonstrates the truth of his propositions. 
 The Doctor uses the word "jiffy" in one of his speeches. 
 What does it mean? Would it be correct outside of col- 
 loquial language? 
 
 BILL OF FARE, THE 
 
 (Field— II— 40.) What is a "bill of fare"? Why do we 
 always have such good things to eat on Thanksgiving? 
 What time of year is this holiday? Why do we always 
 have a turkey? What is the day really for? Why should 
 we be very happy on that day? Should we try to give 
 enough thanks then to last a whole year? 
 
 BINGHAM, MADGE A. 
 
 Author of "Mother Goose Village," a splendidly illus- 
 trated book for children, published by Rand, McNally & 
 Co., Chicago. 
 
 Selection: III, 1. 
 
 BIRD KING'S GIFTS, THE 
 
 (Anon.— Ill— 13.) The growth of interest in Japan, 
 since that country has taken her place as one of the 
 powers of the world, has extended to all phases of her 
 
 22 
 
life. The many striking fairy stories familiar to the peo- 
 ple there have been used as the basis for translations and 
 adaptations for children of the western world. Many of 
 these can be used by the teacher on account of the sim- 
 ple and direct art of the narrative, and on account of the 
 value of the moral teaching so plainly suggested. As in 
 mcst fairy stories this moral concerns itself with rewards 
 that come for kindly deeds done towards birds and ani- 
 mals and human beings, as well as toward the fairies 
 themselves. One of the best of these collections is called 
 "Japanese Fairy Tales," compiled by Yei Theodora Ozaki, 
 and published in a cheap form by A. L. Burt Company, 
 New York. 
 
 In the study of such a narrative as this under consid- 
 eration the main thing to do is to cultivate the power of 
 the child to grasp all the essential points in the story and 
 to see the justice meted out to all parties concerned. As 
 usual it is clear here that riches do not bestow either kind- 
 liness or happiness upon their possessor, and that sel- 
 fishness is likely to bring about its own undoing. Con- 
 trast the situations of the two brothers in possessions 
 and in happiness. What gave the elder brother a chance 
 to show how mean he was? What gave the younger 
 brother and his family a chance to show how good they 
 were? What reward was sent them? Do you suppose 
 they expected any. reward? What wonderful surprise re- 
 sulted from the seed? When he heard of this, what did 
 the elder brother do? Tell what came of it? Do you 
 think he ought to have been punished so severely? Do 
 you like the fortunate brother any better for the way he 
 treated the cruel brother? Do you know what it means 
 "to heap coals of fire" on another's head? Is this story 
 a good example of that? (Read Proverbs, xxv. 21, 22.) 
 
 BIRD OF WASHINGTON, THE 
 
 (Butterworth — IV — 71.) John James Audubon was a 
 noted ornithologist, born at New Orleans in 1780, and 
 died at New York in 1857. His chief work was called 
 "Birds of America" and is famous for its fine drawings. 
 
 23 
 
It was published at $1,000.00 a copy. As the selection in- 
 dicates he was unsuccessful in establishing himself in 
 business and gave his life finally to pursuing the strong 
 bent of his nature, — interest in birds. The selection deals 
 with his efforts — finally successful — to secure a specimen 
 of the American Eagle. Where did he first see one? 
 What made him think of it as a good symbol of the Re- 
 public? What failure is told of? When he finally secured 
 a specimen what did he decide to call it? Why? Where 
 had eagles been used as national emblems before? Do 
 you know why Franklin objected to the common eagle 
 as the symbol? (He said it was a thief, and dirty.) 
 
 BIRD'S NEST, A 
 
 (Hurdis — IV — 216.) These few lines from a practically 
 forgotten poet of the eighteenth century express well the 
 wonder that must impress itself upon any one who really 
 notices the perfect work which the bird does by instinct. 
 Notice that the first sentence expresses the result of his 
 observation. The second sentence asks you to look at 
 the nest from his point of view, — as a result achieved with 
 the beak alone. To make this result stand out the more 
 prominently he calls attention to what the bird did not 
 have. Name these and tell what each could have done. 
 What word in the final clause of this second sentence ex- 
 presses the cause of his admiration? Notice as final 
 reason for his wonder the fact that human ingenuity 
 could not equal the bird's efforts, even if (1) the work- 
 man were skilled, (2) had every possible appliance, and 
 (3) had had twenty years experience. Does this last 
 sentence really ask a question? (It is that form of figura- 
 tion expression called an "interrogation," in which an 
 affirmation is emphasized by putting it in the form of a 
 question.) 
 
 BIRD VILLAGE, THE 
 
 (Given— II— 132.) Why did the boys wish to finish 
 their work by spring. Would not any time do as well? 
 How did they know when spring came? Why did they 
 not make all three houses alike? What did they show by 
 
 24 
 
their manner of fashioning the house? Why did they 
 take the trouble to make their bird houses? What reward 
 did they hope for? What rent did the blue bird pay? 
 Did he know he was paying rent when he sang to his 
 mate? Commit his song. 
 
 BLAKE, WILLIAM 
 
 Born in London, November 28, 1757; died there August 
 12, 1827. His "Songs of Innocence" were published in 
 1787, and the "Songs of Experience," designed as a com- 
 panion volume, in 1794. Blake was both poet and painter. 
 An engraver by profession, he hit upon the method of 
 giving his books to the world by a new process. He 
 engraved both text and illustrations in a single scheme 
 of ornamental design and enough copies were printed 
 from these plates to supply the very limited demand. 
 The lack of appreciation in his own day made this a 
 necessary plan of publication. Blake's genius was a 
 strange one. He worked only in the simplest material 
 of life, and his outlook has the directness ancl simplicity 
 of a child. He dreamed dreams and saw visions and was 
 pretty generally regarded as more or less insane by his 
 contemporaries. At the present the critical tendency is 
 to regard Blake as one of the first embodiments of the 
 so-called Romantic spirit which, at the close of the 
 Eighteenth Century, was breaking down the formal 
 standards of the classical school and coming back to Na- 
 ture. He was a thorough mystic, and his later produc- 
 tions belonged to the class of Prophetic books. Four or 
 five of his short poems are widely known: "Piping Down 
 the Valleys Wild," "The Lamb," "Night," and "The 
 Tiger." The last is the selection found in the Fourth 
 Reader, page 50. 
 
 BLIND MEN AND THE ELEPHANT, THE 
 
 (Saxe — IV — 16.) This is one of Saxe's finest satires. 
 It presents one of the commonest of human shortcomings, 
 the tendency to feel sure that our own limited under- 
 standing of things is really the whole truth, which in 
 turn, is pretty sure to lead to a stubborn intolerance of 
 
 25 
 
other views. What led the six men to go to see the 
 elephant? (Notice the conventional expression, "It was" 
 with which ballads and naratives often begin. What is it 
 equivalent to?) Tell what experience each had in regard 
 to the elephant, and what conclusion each drew. Observe 
 that the last two lines of each stanza are of the nature 
 of a conclusion. Is it important to be sure you have all 
 points of view before drawing definite conclusions? What 
 lesson ought this story to teach us? (To add interest 
 and bring out the idea more prominently, try the experi- 
 ment of taking some irregularly shaped object, which the 
 children have not observed, have them shut their eyes, 
 touch it, in turn, and then try to describe it. Then let 
 them look at the object and see if they have done any 
 better than the blind man with the elephant.) 
 
 BLUE AND THE GRAY, THE 
 
 (Finch — V — 211.) This poem has been and is justly 
 popular because of its beautiful appeal to the generous 
 impulses of humanity. It grew out of a news item in the 
 "New York Tribune" and when first published in "The 
 Atlantic Monthly" in September, 1867, it had this item 
 prefixed: "The women of Columbus, Mississippi, ani- 
 mated by nobler sentiments than are many of their sisters, 
 have shown themselves impartial in their offerings, made 
 to the memory of the dead. They strewed flowers alike 
 on the graves of the Confederate and of the National 
 Soldiers." Why is the poem called "The Blue and the 
 Gray?" Notice that the news item explains the opening 
 lines, the reference to the Mississippi (the inland river), 
 and the gun boats that plied its waters during the war. 
 What is the idea which the refrain constantly emphasizes? 
 Notice the order of development: Stanzas 1 and 2, the 
 waiting armies asleep. What contrasts? What likeness? 
 Stanza 3, the deed and the. doers. What hints of their 
 state of mind? Stanzas 4 and 5, nature's impartiality. 
 Stanza 6, the quality of the deed. The 2nd and 6th 
 stanzas are closely connected. Would the natural tend- 
 ency be toward "upbraiding"? Why? Why was it a 
 
 25 
 
"generous" deed? "Storm of the years that are fading" 
 refers to the four years' strife of the war. What figure? 
 "No braver battle was won;" do you agree? Stanza 7, 
 the effect of such a deed. Nowadays we have reunions of 
 Blue and Gray. 
 
 BLUEBIRD, THE 
 
 (Miller— II— 196.) The bluebird, one of the earliest 
 that comes in the spring, may be regarded as the mes- 
 senger or forerunner of that season, and as such is here 
 introduced. Spring being the period of new life and 
 regeneration is pre-eminently a time of cheer, and the 
 bird voices that sentiment in its song. Why is he a 
 "brave little fellow?" What is meant by line five? Lowell, 
 speaking of the bird in "The Vision of Sir Launfal," says 
 "And lets his illumined being o'errun." 
 
 The flowers addressed in the last stanza, it may be 
 noted, appear in the early spring. Each is individualized 
 by a special appeal. What about the crocus causes the 
 reference to its "eyes?" The color of the violet is 
 thought of as a "mantle of purple and gold," a metaphor. 
 The joy of living should be the experience produced by 
 this song. 
 
 BOASTING BAMBOO, THE 
 
 (Peltier — III — 1S8.) Have you noticed in Japanese 
 pictures how often you see the sacred mountain of 
 Fujiyama- This little story starts with a picture domi- 
 nated by that mountain. Describe the scene. What was 
 the way in which the message was brought to the poet? 
 What was the lesson? The story begins with the con- 
 clusion and then goes back to the earlier events upon 
 which that depends. In what way are the trees like hu- 
 man beings you have known? The language in this little 
 fable is especially attractive. Select some of the finer 
 passages. For instance: "Lady Moon could lay no silver 
 path over the water." Did you ever look across a body 
 of water toward the moon? Notice those details that 
 give characteristic touches of Japanese life. 
 
 27 
 
BOATS SAIL ON THE RIVERS. 
 
 (Rossetti — III — 81.) A simple expression of the super- 
 iority of the beauties of nature to those of the works of 
 man. What contrasts are set forth in stanza I? In 
 stanza 2? 
 
 BOB WHITE 
 
 (Cooper — III — 253.) A breezy little poem, with a poetic 
 explanation of the quail's joyful whistle. Can you imitate 
 his call? Where does he sit? Why is the word "zigzag" 
 used? What tells you the season? What explanation is 
 proposed in the second stanza? How is it corrected by 
 the third? In reading the refrain of each stanza try to 
 utter the words to the tune used by the quail. 
 
 BOLTON, SARAH T. 
 
 Through an evident confusion of similar names the 
 poem on "Indiana" in the fifth reader is attributed to 
 Sarah K. Bolton instead of the. above. The biographical 
 note in the back of the reader also refers to the wrong 
 author. Sarah T. Bolton was born in Newport, Ky., in 
 1820, the family soon after moving to Madison, Ind. 
 Here she married the editor of a local paper to which she 
 had become a contributor. After the panic of 1837, the 
 Boltons, for a time, kept a tavern on the National road, 
 west of Indianapolis. Mr. Bolton was afterward cus- 
 todian of the old State House and Mrs. Bolton had leisure 
 to devote herself to poetry. Her best known poem is 
 "Paddle Your Own Canoe." She died at her home in 
 Indianapolis in 1893. 
 
 BOYHOOD OF FRANKLIN, THE 
 
 (Gordy — IV — 100.) Every boy should read Franklin's 
 "Autobiography," of a portion of which this selection is 
 a simplified version. It is not only one of the greatest 
 autobiographies from the standpoint of its style, but it 
 is especially valuable for inculcating the more common 
 and necessary principles of everyday living. Tell the in- 
 cidents, one after the other, that are given. What traits 
 of character are brought out most prominently? Which 
 
 28 
 
ones, do you think, are especially worthy of emulation? 
 What were some of Franklin's rules of conduct? What 
 was "Poor Richard's Almanac"? Quote the maxims 
 given from it? Can you quote any others not given here? 
 What achievements of Franklin can you mention in the 
 fields of statesmanship, diplomacy and invention? 
 
 BOY'S SONG, A 
 
 (Hogg — III — 186.) What kind of boy do you think 
 it is that speaks? What was his "chum's" name? Were 
 they together much? What kind of things were they in- 
 terested in? What, characteristics in some other boys 
 that he knew was he unable to understand? Do you 
 like the music in this poem? 
 
 BREAK, BREAK, BREAK. 
 
 (Tennyson — V — 191.) This is one of the most beautiful 
 lyrics in the language. A lyric is the expression of some 
 powerful emotion that possessed the writer. In this case 
 Tennyson is giving expression to the blighting grief that 
 came with the sudden death of his friend Arthur Hallam. 
 He has sung this grief in many ways. The most notable 
 is found in his long lyric sequence called "In Memoriam." 
 "Break, Break, Break" was published in the volume of 
 1842, and the poet says it was "made in a Lincolnshire 
 lane at 5 o'clock in the morning between blossoming 
 hedges." Commit the poem and try by many repetitions 
 to come into touch with its power. Imagine clearly the 
 situation, — a man bowed down with grief at the awful 
 visitation of death which has taken away his dearest 
 friend, standing on the shore of the ocean with its steady, 
 deadening roar as it monotonously breaks on the rocks. 
 "The sound of the sea upon the shore is melancholy 
 when it is not terrifying. The sense of the unutterable 
 oppresses great hearts, at times; especially in the presence 
 of mountains, the sea, death. Shakespere makes Cleo- 
 patra in her last hour have 'immortal yearnings.' Ma- 
 dame Roland on the scaffold wishes for a pen to write 
 down the thoughts that arose in her. The pictures so 
 
 29 
 
deftly suggested of the children on the shore, the merry- 
 sailor in his boat, the procession of tall ships with tiering 
 canvas, bring out by contrast the infinite sadness of the 
 sea, — the sea, that separates like death." (MacMechan.) 
 Notice how the speaker's sense of dumbness in his great 
 grief is expressed in stanza I. Notice how the climax 
 comes with the cry of agony at the close of stanza 3, 
 the joyful pictures of ordinary activity in the world 
 serving to impress the terrible sense of loss by contrast. 
 And then notice how the poem shades off in the final 
 stanza into lines of grace and tenderness equal to the 
 clay that is gone forever. 
 
 BROOK, THE 
 
 (Tennyson — V — 59.) This poem was first published in 
 a volume called "Maud and other Poems," in 1855. The 
 stanzas given here are portions of a much longer poem, 
 although they are a unit in themselves and are generally 
 printed by themselves in readers and other compilations. 
 Their setting, in brief, is as follows: Lawrence Aylmer, 
 after an absence of twenty years in India, has returned to 
 the scene of his early life in England. Sitting by the 
 side of the familiar brook and recalling certain events of 
 his youth, he saj'.s that here he parted from his poet 
 friend Edmund, who went to Italy in a vain search for 
 health. Edmund had made a song in which the brook 
 expressed itself, and as Lawrence goes on with his remi- 
 niscences he quotes this song in groups of stanzas, four 
 in number. These groups are easily recognized as each 
 one closes with the line 
 
 "But I go on forever." 
 Thus the brook flows through the poetic landscape as 
 through the real one, adding music and a background to 
 an idyllic story. 
 
 Notice that the brook speaks. — Haunts. Places much 
 visited. — Coot and hern. Kinds of waterfowl — Sally. 
 Dart forth. — Bicker. "Originally meant to 'skirmish,' and 
 here expresses the tremulous agitation of the stream." — 
 Thorps. Clusters of houses. — Philip's farm. In ths story 
 
 30 
 
Philip is the talkative old farmer whose daughter Katie 
 is the center of an interesting love affair. — Chatter. The 
 fourth stanza is a line example of sound echoing sense. — 
 Sharps and trebles. High notes. — Fret. Wear away. — 
 Fallow. "Ploughed land left untilled." — Fairy foreland. A 
 small projection of land, — Willow-weed and mallow. 
 Names of plants which grow in marshy places. — Grayling. 
 A kind of fish. — Waterbreak. Ripple. — Covers. Under- 
 growth, forming shelter for game. — I gloom, I glance. 
 "Pass into shadow and then suddenly into sunlight." — 
 Netted. "Forming a network as it shines through the 
 overhanging branches." — Shingly. Of coarse gravel. 
 
 The first three stanzas give in general the course of 
 the stream. In what kind of place does it rise? How 
 can you tell? What kind of country does it flow through? 
 Do you suppose there were just thirty hills? or twenty 
 thorps? or half a hundred bridges? (These are examples 
 of the use of a definite for an indefinite number.) What 
 comparison with men is made in the third stanza? How 
 many times is this repeated in the poem? 
 
 The second group of three stanzas deal mainly with the 
 noise made by the brook and seem to center around the 
 word "chatter." Pick out all the expressions that in- 
 dicate sounds, or that give any characteristic trait of the 
 brook. 
 
 The third group of three stanzas tell what the brook 
 carries along with it on its winding way. Name these 
 things. 
 
 The fourth group of four stanzas follow, in the com- 
 plete poem, the happy culmination of the love affair. Do 
 they seem to be in keeping with that idea? How does 
 the brook make the sunbeams dance? What causes the 
 stream to "linger" and "loiter?" "His (Tennyson's) 
 descriptions of nature exhibit two qualities distinct in 
 essence, though sometimes combined. One appears in 
 his landscape-painting: it is the gift of selecting salient 
 features and composing them into an artistic picture.... 
 His other great quality as a nature-poet is seen in the 
 treatment of detail — in vignettes where the result of 
 
 31 
 
minute and keen insight is made to live before us in 
 some magical phrase.. ..(His) English is always pure and 
 idiomatic.. . .One of his aims was to recall expressive 
 words which had fallen out of common use. (For in- 
 stance, the word "thorps"). . .His melody, in its finer 
 secrets, eludes analysis; but one element of it, the delicate 
 management of vowel-sounds can be seen" in such lines 
 as 
 
 "I bubble into eddying bays, 
 I babble on the pebbles." 
 
 BROTHER FOX'S TWO DINNERS 
 
 (Harris — III — 50.) Who tells this story? What in- 
 vitations were received by Mr. Rabbit and Brother Fox? 
 How did Mr. Rabbit make up his mind which to accept? 
 What state of mind was Brother Fox in as to where he 
 would go? Tell how Mr. Rabbit passed Brother Fox. 
 Give an account of Mr. Rabbit's experiences at the bar- 
 becues. Did he find out why Brother Fox did not ap- 
 pear at either? Why was it? Do you find anything 
 "funny" about the way Brother Fox acted? Flave you 
 ever known anybody like him? (Contrast Mr. Rabbit 
 and Brother Fox as types of character.) — Notice the many 
 familiar and colloquial expressions. Consider especially 
 the meaning of these: "once upon a time," "barbecue," 
 "stroke of work," "passed the time of day," "shote," 
 "giblets," "to settle my dinner," "two hours by sun," 
 "a-frying," "licking his chops" — A canebrake is a thicket 
 of canes. 
 
 BROWN, ABBIE FARWELL 
 
 A well-known writer for children, living in Boston, Mass. 
 Among her books are "The Book of Saints and Friendly 
 Beasts," "In the Days of Giants," "The Flower Princess," 
 "Brothers and Sisters." 
 
 Selection: II, 64. 
 
 BROWNING, ELIZABETH BARRETT 
 
 Probably the greatest woman poet the world has pro- 
 duced. She was born near Durham, in the north of Eng- 
 
 32 
 
land, March 6, 1806. While still a child she wrote verses, 
 and could read Homer in the original at eight years old. 
 At fifteen she met with an accident while saddling her 
 pony which made her practically an invalid for life. The 
 Barretts moved to London in 1835. In 1846 Elizabeth 
 married the poet Robert Browning and this marriage 
 proved one of the happiest on record, and those poems 
 written by each in honor of the other are among the 
 noblest expressions of love in the language. The Brown- 
 ings went to Italy in 1847, and lived at Florence until 
 Mrs. Browning's death, — June 29, 1861. "Her purely 
 lyrical utterances, like the 'Sonnets from the Portuguese' 
 and such poems as 'The Sleep/ 'Cowper's Grave/ 'A 
 Musical Instrument/ 'The Cry of the Children' — to name a 
 few of the chief — form perhaps her greatest achievement.. 
 But learned poems — if we may so call them — like 'Wine 
 of Cyprus' and 'A Vision of Poets/ novel-poems like 
 'Lady Geraldine's Courtship' and 'Aurora Leigh,' and 
 romantic ballad poems like the 'Rhyme of the Dutchess 
 May,' are all in their kind of the very greatest excellence." 
 (Elizabeth Lee.) "The Sonnets from the Portuguese" — ■ 
 a great sonnet-sequence — place her along with Shakes- 
 peare, Milton and Wordsworth, as a master of that most 
 difficult form of poetry. She was interested in all the 
 great problems and reforms of her day and her "Cry of 
 the Children" remains to this day the clarion voice calling 
 the world to a neglected duty. In recognition of her 
 great services in behalf of the Italian struggle for liberty 
 the municipality of Florence placed a tablet on the house 
 she occupied with this inscription by the Italian poet 
 Tommaseo. 
 
 Here lived and died Elizabeth Barrett Browning, 
 who in her woman's heart reconciled the science of 
 learning with the spirit of poetry and made of her 
 verse a golden ring between Italy and England. 
 Grateful Florence places this tablet, 1861. 
 
 BROWNING, ROBERT 
 
 Born in Camberwell, London, May 7, 1812, was well 
 educated and early developed a liking for books, and 
 
 33 
 
especially for the acquirement of out of the way knowl- 
 edge. It is probably the introduction of this ma- 
 terial into his poetry that has so often given rise to the 
 charge of wilful obscurity. He married, in 1846, Eliza- 
 beth Barrett, the poet, and they lived, until her death in 
 1861, chiefly in Florence, Italy. Browning's work is 
 voluminous, the most convenient form in which it is to 
 be had probably being the Cambridge edition in one 
 volume published by Houghton, Mifflin & Co., Boston, 
 Mass. His favorite form of composition seemed to be 
 the dramatic monologue. Died in Venice, December 12, 
 1889, on the same day that his last volume, "Asolando," 
 was published in London. Mrs. Orr's Life and Letters 
 of Browning is a standard authority, while Sharp's Life in 
 the English Men of Letters series is a briefer and handier 
 volume for the ordinary reader. Berdoe's "Browning 
 Cyclopaedia" is a valuable explanatory handbook. Selec- 
 tions: II, 30; IV, 131; V, 7, 206, 310, 317. 
 
 BRYANT, WILLIAM CULLEN 
 
 Born at Cummington, Mass., November 3, 1794; showed 
 skill early in composing verses; studied law; wrote 
 "Thanatopsis" in his eighteenth year; became connected 
 with "The Evening Post," New York City, in 1825; made 
 editor-in-chief in 1828, which position he held until his 
 death, June 12, 1878. The authorized edition of his poetry 
 is published by D. Appleton & Company, New York City. 
 His translations of the Iliad and the Odyssey are pub- 
 lished by Houghton, Mifflin & Company, Boston, Mass. 
 The authoritative memoir is by his son-in-law, Parke 
 Godwin, while a briefer and more readable life is found 
 in the American Men of Letters series by John Bigelow. 
 Selections: V, 18. 
 
 BUILDER'S LESSON, A 
 
 (O'Reilly — V — 84.) What is the question asked at the 
 beginning of the poem? What is the general answer? 
 All the rest of the poem is an elaboration of the idea in 
 the second line. State the comparison to the threads. 
 To the building. What principle is stated in the second 
 
 34 
 
paragraph about the ease with which we can back out of 
 a habit? What comparison is used to illustrate the prin- 
 ciple? Does the waste in wrong habits consist merely in 
 the forming of them or partly, at any rate, in the use of 
 great stores of energy in order to break them? (See last 
 paragraph.) What end in life makes necessary this great 
 effort? What final illustration makes clear the method? 
 This is a splendid little poem to set forth the tyranny of 
 habit, and thus to impress a sense of the importance of 
 proper direction of effort. Probably the saddest fact 
 about humanity is not its lack of energy, but its tremen- 
 dous waste of energy. 
 
 BUNNER, HENRY CUYLER 
 
 Born at Oswego, New York, August 3, 1855, entered 
 journalism in 1873, later became editor of "Puck," which 
 position he retained until his death at Nutley, New Jersey, 
 May 11, 1896. One of his poems, "One, Two, Three," has 
 found its way into numerous collections intended for 
 children, and appears in the second reader, p. 164. 
 
 BUNYAN, JOHN 
 
 The author of the greatest prose allegory in our 
 language. He was born in 1628, at the little village of 
 Elstow; in Bedfordshire, England. His father was a 
 tinker, a mender of pans and pots, and the boy was 
 brought up for the same humble occupation. His educa- 
 tion was apparently confined to the merest rudiments and 
 the Bible and Foxe's "Book of Martyrs" seemed to com- 
 prise his reading, even in later life. A vivid and morbid 
 conscience led him, upon conversion, to believe himself 
 the most terrible of sinners. Visions of the miserable 
 fate awaiting him took possession of his mind. With a sin- 
 cerity and directness posssessed by few men he became 
 one of the most effective of preachers. The homely 
 illustration and the simple style of the Bible gave his 
 writings a power as great as his spoken word,— with the 
 additional advantage that they are available for the world 
 at large. Shortly after the Restoration, in 1660, Bunyan 
 was arrested for preaching without authority and spent 
 
 35 
 
about twelve years in Bedford jail. A second and shorter 
 period of imprisonment took place in 1675, and during 
 this later period "Pilgrim's Progress" was probably 
 written. It is the story of a journey from the City of 
 Destruction to the Heavenly City. Under the "similitude 
 of a dream" this wonderful book tells of the experiences 
 that come to all who attempt to live the larger life. 
 Bunyan lived in a period when the matter of "salvation" 
 was of supreme importance in men's minds, and when the 
 conflict between the ways of the "world" and the demands 
 of "righteousness" seemed in irreconcilable opposition. 
 ''Pilgrim's Progress," next to the Bible, has been the most 
 widely read of books, and it survives all changes and 
 fashions of theology, because its power is in the genius 
 with which it portrays what every reader recognizes as 
 the essentials of his own struggle. Other books by 
 Bunyan are, "Grace Abounding to the Chief of Sinners," 
 "The Holy War," and "The Life and Death of Mr. Bad- 
 man." He died in August, 1688. 
 Selection: V, 41. 
 
 EURNETT, FRANCES HODGSON 
 
 Born at Manchester, England, in 1849. The family 
 moved to Knoxville, Tenn., in 1865. After her marriage, 
 Mrs. Burnett removed to Washington, where she has 
 lived mainly since. She is the author of a large number 
 of stories and plays that have enjoyed great popularity. 
 Of books for younger people there are "Little Lord 
 Fauntleroy," "Sara Crewe," "Little Saint Elizabeth." 
 Other titles are "That Lass of Lowrie's," "A Lady of 
 Quality," "The Dawn of a Tomorrow." 
 
 Selection: IV, 61. 
 
 BURNING OF MOSCOW, THE 
 
 This descriptive sketch is one of the striking passages 
 in Mr. Headley's "Napoleon and his Marshals." It has 
 the qualities of exaggeration in language, the melodra- 
 matic, which have made the book popular, and which are 
 perhaps necesary in order to make much impression on 
 the ordinary reader. The account refers to the burning 
 
 36 
 
of Moscow by the Russians at the time the city was lying 
 helpless before the all-conquering armies of Napoleon in 
 September 1812. This ev.ent made necessary the dis- 
 astrous retreat of Napoleon's forces. The Kremlin is the 
 famous citadel of Moscow. 
 
 The four paragraphs given present the scene from two 
 points of view. First, two paragraphs tell what one in 
 the city itself might see. Second, two paragraphs tell- 
 how it looked from Napoleon's position. Enumerate the 
 features mentioned in the opening paragraphs. Pick out 
 the expressions that emphasize the terrible nature of the 
 fire. What were the features that would impress one from 
 the position occupied by Napoleon? Where was he 
 located? What did he afterward say about it? How 
 could such a scene of "woe and fear" be "sublime." 
 
 BURNS, ROBERT 
 
 Born in Ayrshire, Scotland, January 25, 1759. Though 
 his family was poor, Burns was fairly well educated and 
 his miscellaneous reading was considerable. His life was 
 a grim fight with poverty, ill-luck, and the well-known 
 weaknesses of character which beset him. Various unfor- 
 tunate attempts at farming and some years spent as ex- 
 ciseman in the revenue service comprise the main outward 
 features of his life. Burns early began to write poetry 
 and his reputation rests upon the fact that his lyrics are 
 the direct outpourings of a heart essentially noble, full of 
 pride and independence, and a wide, abundant sympathy 
 for all things both great and small. It would require a 
 long list to name all of his poems that have become as 
 household words, but the list would certainly include "Tarn 
 O'Shanter," "The Cotter's Saturday Night," "Honest Pov- 
 erty," "Highland Mary/' "To Mary in Heaven," "Of a' the 
 airts," "Sweet Afton," "John Anderson," "To a Mouse," 
 "To a Mountain Daisy." Burns's health and spirits gave 
 way under the hard stress of his experiences and he died 
 at Dumfries, July 21, 1796, in his 37th year. Among the 
 best brief discussions of his life and work may be men- 
 
tioned Shairp's life in the English Men of Letters, and 
 Carlyle's famous essay. 
 Selection: V, 108. 
 
 BURROUGHS, JOHN 
 
 One of the most delightful of American essayists, born 
 at Roxbury, N. Y., April 3, 1837. His early life was spent 
 in teaching, journalism, and as an official of the Treasury 
 Department at Washington. For many years he has lived 
 quietly in retirement at Esopus, N. Y., devoting himself 
 to his favorite pursuit of observing nature and recording 
 his conclusions. These conclusions embody as much of 
 his own personality as of mere nature, and give his many 
 essays that fine flavor that distinguishes them. Emerson, 
 Whitman, and Matthew Arnold are the masters who have 
 influenced him most. His works, in collected form, now 
 number fifteen volumes, published by Houghton, Mifflin 
 & Co., Boston. Among them are "Wake Robin," "Locusts 
 and Wild Honey," "Fresh Fields" and "Sharp Eyes." 
 
 Selection: V, 126. 
 
 BUTTERFLY HUNTERS, THE 
 
 (Murray-Aaron — V — 85.) A science lesson cast in the 
 form of a story in which the Doctor makes clear some 
 very interesting things to some boys who see, but do not 
 understand what they see, until shown how. Where did 
 these observations take place? What did the boys see 
 that they did not understand? Tell all that they found 
 out. — Pestiferous. Annoying. — Such a lesson as this ought 
 to stir up greater enthusiasm in the matter of studying 
 the many facts in the natural world around us, and can 
 be used as the starting point in much effective elementary 
 science work. 
 
 BUTTERWORTH, HEZEKIAH 
 
 Born at Warren, R. I., in 1839. He was a well-known 
 writer of books and poetry for young people. For many 
 years he was a prominent member of the editorial staff 
 of "The Youth's Companion." Among his popular books 
 
 38 
 
are "Zigzag Journeys," "A Knight of Liberty," and "The 
 Boyhood of Lincoln." tie died in 1905. 
 Selections: IV, 71; V, 144. 
 
 BUTTS, MARY F. 
 
 Selections: II, 46; III, 20. 
 
 BYRON, GEORGE NOEL GORDON, LORD 
 
 Born in London, June 22, 1788. Was lame as the result 
 of deformed feet and this fact had much to do in making 
 him morbid throughout his life. His whole career was 
 eccentric, wild, and turbulent. While at Cambridge he 
 wrote "Hours v of Idleness" and in retaliation for the 
 severe criticism which appeared in the Edinburg Review 
 he wrote his famous satire called, "English Bards and 
 Scotch Reviewers." "Childe Harold's Pilgrimage" is the 
 most famous of his longer poems, while the "Prisoner of 
 Chillon" is perhaps the best known of his briefer poems. 
 He was much interested in the Greek war for independ- 
 ence, and went to that country to espouse its cause. He 
 died at Missolonghi, Greece, April 19, 1824. His life by 
 Nichol is found in the English Men of Letters series. 
 
 Selections: V, 51, 257. 
 
 CABIN IN THE FOREST, THE 
 
 (Butterworth — V — 144.) This selection tells an incident 
 in the life of the famous naturalist Audubon. Observe 
 that it is practically all in Audubon's own words. Tell 
 the story in detail. What features of the country im- 
 pressed the speaker? What customs and habits of life 
 are mentioned that belong to pioneer life ? What part did 
 the wounded Indian play in the story? The dog? What 
 led to the naturalist's escape? Jerked buffalo meat. Long 
 strips of meat cured by drying over a fire or in the sun. — 
 Flints .... primings. Did you ever see an old flint-lock? 
 You can find a picture, maybe, in the dictionary or in an 
 encyclopedia. 
 CALLING THE QUAIL 
 
 (Sharp— IV--250.) What facts about the life history 
 of the quail are brought out in the first paragraph? What 
 
 39 
 
one in the rest of the selection? Tell clearly what the 
 observer noticed. Probably some member of the class 
 has seen the same thing. Can you make the sounds de- 
 scribed? Does this selection make you sympathize more 
 or less with quail hunting? — Bevy. This word suggests 
 an interesting study in synonyms. The following is from 
 the Century dictionary: "Flock is the popular term for 
 birds of many sorts; it is applied by sportsmen especially 
 to wild ducks, geese, and shore-birds. Herbert applies 
 gaggle to geese; Colquhoun applies it to geese swimming; 
 it is not used in the United States. Covey is applied to 
 several kinds of birds, especially partridges and pinnated 
 grouse. Pack is applied to the pinnated grouse in the 
 late season when they go in "packs" or large flocks. Gang 
 is applied to wild turkeys, wisp to snipe, bevy to quail, 
 sedge to herons. Brood applies to the mother and her 
 young till the latter are old enough for game." 
 
 CAMEL AND THE PIG, THE 
 
 (Anon. — II — 82.) What sort of a feeling prompted the 
 camel to pride himself on his height? Did the pig likely 
 have the same feeling when he expressed pleasure at 
 being short? What agreement did they come to? How 
 did the camel prove being tall was a great advantage? 
 How did the pig prove being short was an advantage? 
 If they had kept their word what would have happened 
 after the camel had his breakfast over the wall? What 
 would have happened after the pig had his breakfast 
 under the gate? Had they after all proven anything? 
 Why was it a foolish agreement? 
 
 CANDLE-MAKING AT THE COOLIDGES' 
 
 (Stone -Fickctt— TV — 186.) This selection enables the 
 child to understand a bit of domestic economy that be- 
 longs to a past time. Interesting comparisons may be 
 instituted between present methods of lighting and those 
 of the past. We can buy candles at the store, but they 
 are not made of tallow nor by the methods described in 
 this selection. They are made from the products of 
 petroleum. Why was Patience so interested in the 
 
 40 
 
matter? Follow the process closely and be able to tell 
 just what steps were necessary. Why do you suppose 
 Governor Winthrop had more light at his house than 
 the Coolidges had? Why did they need a '"snuffer tray 
 and snuffers"? What satisfaction did Patience have from 
 her candle? 
 
 CAREFUL OBSERVER, THE 
 
 (Colton — IV — 75.) This passage is taken from the 
 noted old book called "Lacon, or Many Things in Few 
 Words." It is clear that Sherlock Holmes had his pro- 
 totype in far-a-way times and lands. What made the mer- 
 chants think the dervish had stolen their camel? What 
 did they do with him? What was the result of the trial? 
 If he was neither a liar nor a thief, how could his certain 
 knowledge be accounted for to the minds of the mer- 
 chants? What explanation did he give of the mystery? 
 Was it any mystery at all? What trait of mind does his 
 explanation show he possessed? Does it seem reasonable 
 to you? Do you observe things as carefully as the 
 dervish did? Dervish. A Mohammedan monk. — Cadi. A 
 Turkish village-judge. — Sorcerer. A magician, one pos- 
 sessing supernatural powers. 
 
 CARLYLE, THOMAS 
 
 One of the greatest and strangest of original writers 
 and ethical teachers. He was born in the little Scottish 
 village of Ecclefechan, in 1795. As the eldest of nine sons 
 he was intended by his parents for the church and was 
 brought up under the strict conditions of the life of his 
 day. He was a hard student, apt in the classics and, 
 especially, in mathematics. He tried teaching and dis- 
 liked it. He found himself out of sympathy with the 
 orthodoxy of his day and soon gave up any plans for the 
 ministry. His intense, sham-hating mind tended toward 
 gloominess, and this was intensified by his dyspepsia, 
 "gnawing like a rat at his stomach." He became in- 
 terested in German literature and translated Goethe's 
 "Wilhelm Meister" and other representative selections 
 
 41 
 
from modern writers. In 1826, Carlyle married Jane 
 Welsh and they settled on a lonely farm at Craigenput- 
 toch. Here for six years he lived and toiled at his great 
 masterpiece, "Sartor Resartus." His unusual and uncouth 
 style at first shut him off from the public, but the vitality 
 of his message soon forced the world to listen. In 1834 
 the Carlyles moved to Chelsea, a surburb of London, and 
 here he lived until his death in 1881. His "History of the 
 French Revolution" in 1837 gave him an assured place 
 among our great writers. Other books by Carlyle are 
 "On Heroes and Hero Worship, " "Past and Present," 
 "Cromwell's Letters and Speeches," "History of the Life 
 and Times of Frederick, commonly called the Great." 
 (The chief biographer of Carlyle is the historian, J. A. 
 Fronde. Shorter and reliable accounts are those in the 
 English Men of Letters series by- J. Nichol, and in the 
 Great Writers Series by Richard Garnett.) Carlyle was 
 not a poet, and hence the little verses (V, 22) do not give 
 much idea of his real qualities. 
 
 CARROLL, LEWIS 
 
 (See Dodgson, Charles L.) 
 
 CARY, ALICE 
 
 Born near Cincinnati, Ohio, April 20, 1820; began to 
 write at an early age; removed in 1852 to New York 
 where she resided, until her death, February 12, 1871, with 
 her sister — Phoebe, who was born September 24, 1824, 
 and died July 31, 1871. The work of the two sisters was 
 very closely connected, Phoebe, however, writing less 
 than her sister, the care<s of the home largely devolving 
 upon her. Phoebe is the author of the famous hymn, 
 "One Sweetly Solemn Thought." The authorized edition 
 of the poems of Alice and Phoebe Cary is published by 
 Houghton, Mifflin & Company, Boston Mass. Selections 
 are found as follows: Phoebe, III, 21' Alice, III, 772; IV, 
 105. 
 
 CAT AND THE FOX, THE 
 
 (Grimm — II — 21.) Do you think the cat in a pleasant 
 friendly humor when she greeted the fox? What was the 
 
 42 
 
fox's manner when he returned her greeting? What 
 unkind name did he call the cat? Are both cats and 
 foxes afraid of dogs and hunters? Are foxes tricky ani- 
 mals? What kind of a spirit was the fox showing when 
 he answered the cat's question in regard to dogs and 
 hunters? When the fox asked the cat how many tricks 
 she had was her answer true? Was it a modest answer? 
 When the dogs and hunters come what spirit does the 
 cat show toward the fox? What was the trouble with 
 the fox's tricks? Why was the cat's a good one? Did 
 the cat deserve to get away? How about the fox? 
 
 CAT, THE MONKEY AND THE CHESTNUTS, THE 
 
 (Aesop — II — 12.) How are chestnuts usually roasted? 
 Are cats fond of nuts? Are monkeys? Who most desired 
 the chestnuts, the cat or the monkey? How did the 
 monkey flatter the cat? What was the result of the flat- 
 tery? Who got the nuts? Who got the burns? Have 
 you ever heard of one. person making a cat's paw of 
 another? What does that mean? 
 
 CAT AND THE MOUSE, THE 
 
 (Anon. — II — 114.) Do you think the cat bit off the 
 mouse's tail to be cruel? When the mouse asked for her 
 tail what was the reply? To how many people did she 
 have to go before getting her tail? Who was the last 
 one? What promise was made the baker? Name the 
 articles the mouse had to get and the persons for whom 
 they were gotten? Did the. mouse get her tail as soon 
 as she took the milk to the cat? Why? Where was the 
 tail? What did the mouse do as soon as she got her tail? 
 Hew do you think she felt? 
 
 CAVALCADE, A 
 
 (Tabb — III — 59.) An interesting little fancy. On some 
 windy day take some thistle-down and start such a caval- 
 cade as mentioned here, repeating the lines as the down 
 flies away. Cavalcade. A group or procession of knightly 
 figures on horseback. 
 
 43 
 
CERVANTES SAAVEDRA, MIGUEL DE 
 
 A great Spanish poet and novelist, born in 1547, died at 
 Madrid, 1616. His early life is uncertain, but it is clear 
 that he was well educated. His whole life was a fight 
 with poverty, and until 1584, full of the adventures of a 
 soldier's career. It is said that he began to write "Don 
 Quixote" while in prison. The first part of this famous 
 book was published in 1605, and the second part in 1615. 
 He wrote many other works and according to his own 
 account "twenty or thirty plays." "Don Quixote" is one 
 of the few absolutely great books and is discussed under 
 the selection taken from it called "The Fight with the 
 Windmills." It is interesting to note that the date of 
 Cervantes' death is the same as that of Shakespeare, 
 April 23, 1616, but since there was a difference of ten days 
 between the Spanish and the English calendars, he did 
 not die on the same day. 
 
 Selection: V, 132. 
 
 CHAMBERED NAUTILUS, THE 
 
 (Holmes — V — 130.) This poem appears at the close of 
 chapter IV of "The Autocrat of the Breakfast Table" and 
 was first published in the "Atlantic Monthly" for Febru- 
 ary, 1858. The popular and critical judgments practically 
 agree that it is the best poetry Dr. Holmes every wrote, 
 and he himself v/as of the same opinion. "Booked for 
 immortality," Whittier is reported to have said upon 
 reading it. The poem is preceded in the "Autocrat" by 
 some sentences which are valuable as suggesting the con- 
 ception of the poem: — "Did I not say to you a little while 
 ago that the universe swam in an ocean of similitudes and 
 analogies? I will not quote Cowley, or Burns, or Words- 
 worth, just now, to show you what thoughts were sug- 
 gested to them by the simplest natural objects, such as a 
 flower or a leaf, but I will read you a few lines, if you 
 do not object, suggested by looking at a section of one 
 of those chambered shells to which is given the name of 
 Pearly Nautilus. We need not trouble ourselves about 
 the distinction between this and the Paper Nautilus, the 
 
 44 
 
Argonauta of the ancients. The name applied to both 
 shows that each has long been compared to a ship, as you 
 may see more fully in Webster's Dictionary, or the 'En- 
 cyclopaedia' to which he refers. If you will look into 
 Roget's Bridgewater Treatise, you will find a figure of 
 one of these shells and a section of it. The last will show 
 you the series of enlarging compartments successively 
 dwelt in by the animal that inhabits the shell, which is 
 built in a widening spiral. Can you find no lesson in 
 this?" 
 
 What is the analogy which the poet has discerned and 
 which forms the subject of the poem? (The growth of 
 the soul and the growth of the nautilus.) Notice that the 
 poet seems to be looking at the shell as he writes. What 
 are some of the fancies which he associates with the 
 shell? Give a clear picture of what he sees as you get 
 it from the poem. Point out the respects in which the 
 growth of the soul is like the growth of the shell. Is the 
 growth of the soul held in mind by the poet the state in 
 which we actually find the soul or the state in which we 
 ought to find it? Does a recognition of this fact help us 
 to attain the ideal of the poet? How? What are the 
 leading emotions produced by this poem? (Wonder, 
 beauty, worth, aspiration?) What value, as you see it, 
 is such a poem to humanity? — Critical: What is the real 
 subject of this poem? What relation does it bear to the 
 subject stated? Is the concrete object or story well 
 fitted to express the deeper thought? — The following from 
 Noble's "Studies in American Literature" (Macmillan & 
 Co., New York) will serve as the basis for a full explana- 
 tion of "The Chambered Nautilus": 
 
 "Study this poem as an example of the meditative na- 
 ture lyric. It is written with no apparent reference to 
 any idea of its being sung. It is not a song in that sense. 
 But it has the lyrical quality of emotion, in a quiet, peace- 
 ful, meditative form, somewhat after the manner of 
 Wordsworth. It has also very clearly the lyrical quality 
 of expressing the poet's personality. We are interested 
 in what the writer thinks and feels about the shell, rather 
 
 45 
 
than in the shell itself. The thought and feeling are those 
 cf the scholar and modern scientific thinker, rather than 
 of the simple observer of nature. The poet is first re- 
 minded of the classical fables about the nautilus. Then 
 his thought passes to the facts of the life of the shellfish, 
 and beautifully personifying them, he proceeds to draw his 
 lesson, making the observed facts of the animal's life the 
 basis of a beautiful and suggestive analogy. The form of 
 the lyric is interesting, especially for its close connection 
 with the progress of the thought. Notice the structure 
 of the stanzas. The measure is iambic, with lines of 
 varied length. First a pentameter line, then two trime- 
 ters, two pentameters, a trimeter, and an alexandrine at 
 the end. Each of the five stanzas is devoted to a clearly 
 denned stage of the thought. The fabled fancies about 
 the nautilus, the shell as it lies before the poet, the life 
 that once occupied the now empty shell, the fact that it 
 brings us a message, and the message that it brings. A 
 closer study will show us that each line carries a com- 
 plete thought, and that the longer and shorter lines are 
 closely adapted to the thought they have to express. 
 Especially noteworthy is the way in which the thought 
 of each stanza culminates to its fullest expression in the 
 long, sonorous alexandrine line with which it closes. The 
 familiar expedients of alliteration and assonance are used 
 in this poem, but not in such a way as to be conspicuous. 
 Notice especially lines 4, 11, 19. The great beauty of the 
 poem is in the pure, ennobling thought it contains, and 
 the impression it leaves upon the spirit of the reader. 
 The interest of the form consists in the power with which 
 each word and line is made to work toward this final 
 impression." 
 
 St. 1. Ship of pearl. So-called because of the former 
 supposition that it was furnished with a kind of mem- 
 brane ("purpled wings living gauze") which en- 
 abled it to sail upon the water. — Why "unshadowed" 
 main? — Siren. "Muses of the sea and of death, who by 
 their sweet singing enticed seafarers to destruction." — ■ 
 St. 2. Irised ceiling. Inside wall of cell is rainbow-hued.— 
 
 46 
 
Crypt. A vault under a church. These were sometimes 
 used as chapels and sometimes as places of burial. The 
 poet uses the word figuratively, referring to the closed 
 chambers of the cell. — St. 4. Triton. "The son of Nep- 
 tune and Amphitrite, trumpeter of Ocean. By his blast on 
 the shea-shell he stirred or allayed the waves." — The 
 idea of the final stanza may be illustrated by drawing on 
 the board a line outlining a large dome. Then draw right 
 under it a small dome. By a succession of enlargements 
 this latter may be made to approach and finally coincide 
 with the larger dome. — Does "outgrown shell" refer to 
 the physical body or to the thoughts and emotions which 
 we have outgrown? 
 
 CHAUCER, GEOFFREY 
 
 The first great English poet, born in London, in 1340, 
 and died there in 1400. He was well educated and early 
 in life connected with the aristocratic court life as a page 
 in the household of Prince Lionel. Was captured by the 
 French in the military expedition of 1359 and while a 
 -prisoner there evidently became much interested in the 
 typical work of the period from which came his own 
 "Romance of the Rose." His early work, dominated by 
 the French style, is called his French period. After his 
 release he was sent on some kind of official business to 
 Italy and caught the spirit of the Italian Renaissance, 
 and may have met Petrarch. His later life was mainly 
 spent in London in various official capacities. In these 
 later years he wrote his master-piece, one of the great 
 poems of all time, "The Canterbury Tales." In it we 
 have nearly all phases of English society represented. 
 A group of pilgrims are on the way to the shrine of 
 Thomas a' Becket of Canterbury, and to while away the 
 time each is to tell two stories going and two on the re- 
 turn trip. Only about one-fifth the number planned were 
 written. Chaucer had a wonderful grasp of certain phases 
 of life and he knew how to tell a story. One of the most 
 read of these stories is"The Nun's Priest's Tale," the 
 second of the Canterbury series, and a simple version of 
 
 47 
 
this — nor Chaucer's, it should be noted — is given in the 
 second reader, page 98. 
 
 CHICKEN'S MISTAKE, THE 
 
 (Cary — III — 21.) The first six stanzas tell the story 
 and the last three state the lesson to be derived from it. 
 Tell the story of the chicken. What did the chicken want 
 to do? Why? What did the old hen say to her? Why 
 didn't the chicken believe her mother? What happened? 
 What does the story show, (1) that our attitude ought to 
 be toward those who are more experienced than our- 
 selves? (2) as to our own special place in life? Read the 
 lines which answer each of these final questions. 
 
 CHILD'S THOUGHT OF GOD, A 
 
 (Browning — V — 237.) This is an expression of the 
 mysterious recognition of the divine presence in all things 
 — the immanence of God. The first two stanzas bring out 
 the point that you can not find God apart from the facts 
 of the universe through which his glory shines. What 
 does the first stanza tell you? the second? What does 
 the third stanza suggest about his presence? What does 
 the fourth stanza suggest about the way God comes into 
 our consciousness? What comparison in the fifth stanza? 
 Does it seem to you a good comparison? This is the 
 kind of poem that you need to read again and again, and 
 brood over, until you feel yourself making its words your 
 own. Especially notice that the God thought of here is 
 tender and loving. 
 
 CHILD'S PRAYER, A 
 
 (Edwards — II — 128.) Commit this poem to memory. 
 What is the purpose of a light? Can a life have the same 
 purpose? What is it in the flower that makes it a joy to 
 all? Can a life have the same thing in it? What would 
 a child's "native bower" be? What are songs for? May 
 a life have the same purpose? Does the singer enjoy his 
 song? Can a child reap the happiness of its own useful- 
 ness? What is a staff used for? Are there always some 
 people that are stronger than others? What is the duty 
 of the strong to the weak? 
 
 48 
 
CHINESE STORY, A 
 
 (Cranch — IV — 81.) What dispute arose between Chang 
 and Ching? How did they agree to settle it? What ad- 
 vantage did Ching take? What did he find out by this? 
 What had Chang put off the test for? What advantage 
 did he take? What did he learn? Is the expression 
 "honest fellows" used literally or ironically? What dis- 
 pute arose when the day for the test came? To whom did 
 they leave the matter? What was his explanation? How 
 do you suppose the two felt after hearing it? Did either 
 have any ground for criticising the other? Do you see 
 any quality in these two Chinamen that seems to be like 
 anything in the attitude of most disputants? Were they 
 really anxious to find out the truth, or more concerned 
 about beating the opponent? Chopsticks. Small tapering 
 sticks of wood or ivory, resembling a lead pencil, but 
 longer, used instead of knives and forks by the Chinese 
 and Japanese. — Optics. Eyes. — Palm. The prize. The 
 palm was the symbol of victory in a contest in olden 
 times. — To take time by the forelock. An expression 
 which means to be ahead of time. Its explanation is said 
 to be that old Father Time is represented as an old man, 
 quite bald, with the exception of a single lock of hair on 
 the forehead. — Mandarins. Chinese officials. This selec- 
 tion is a good example of a humorous treatment of one 
 of the commonest of human foibles. A good way to 
 correct these is to let their possessor see how ridiculous 
 the qualities really look. 
 
 CHRISTMAS TREE, THE 
 
 (Varney — III — 82.) Children take great delight in en- 
 dowing with human faculties the various things with 
 which they deal, — inanimate objects and lower forms of 
 life To their minds no violence is done by this, and the 
 fact that they do not feel any unreality about it is the 
 justification of such a story as this for use at the Christ- 
 mas season. Tell where the little tree grew and what its 
 surroundings were. How did the tree and the birds en- 
 joy each other? What suggestion did the birds make to 
 
 49 
 
it? Why did the tree finally decide it would like to be a 
 Christmas tree? Why was it chosen? Tell about the 
 Christmas celebration. Why did the tree enjoy it? What 
 had it done that everyone ought to do? 
 
 CHRISTMAS AT THE LIGHTHOUSE 
 
 (Anon. — II — 95.) Where are light houses always lo- 
 cated? Why was May frightened when she first saw the 
 light house? What were the many steps for and why did 
 they go round and round? Where were the stockings 
 hung? What made this experience so strange for May? 
 Did Santa Claus come? What evidence did they have of 
 his visit? 
 
 CHURCH, ALFRED JOHN 
 
 Born in 1829. Educated at London and Oxford. A 
 prominent English educator and the author of a number 
 of books, mainly translations and adaptations of material 
 from the great classic writers. 
 
 Selection: V, 139. 
 
 CHURCH, FREDERICK STUART 
 
 A prominent American artist, born in Grand Rapids, 
 Mich., in 1842. He is a painter of figures and animals. 
 The little ''skit" found in the third reader (page in) car- 
 ried illustrations by the author in its original publication 
 and these are especially interesting. 
 
 CIRCUS IN THE BARN, THE 
 
 (Anon. — II — 148.) What was the price of admission to 
 the circus ? Describe the grand parade and tell what the 
 different animals really were. What were the two real 
 animal performers in the circus? What did the goat do 
 that was unexpected? What was the result? 
 
 CLOUGH, ARTHUR HUGH 
 
 An English poet, born in Liverpool, in 1819. Some 
 years of his boyhood were spent in Charleston, S. C, but 
 in 1828 he was placed in school at Rugby under Dr. Ar- 
 nold. He was a student at Oxford and later a fellow at 
 
 50 
 
Oriel from 1843 to 1848. He gave up this fellowship on 
 account of his inability to accept the religious views in- 
 volved and became an examiner under the Education De- 
 partment. On account of his spiritual conflicts and some- 
 what gloomy cast of mind, his life impresses one as in- 
 volving much tragedy. He died while on a tour of Italy 
 in 1861. He is best known by a few short poems like "Say 
 not the Struggle Naught Availeth" and "Qua Cursum 
 Ventus." 
 
 Selection: IV, 220. 
 
 CLOVER 
 
 (Tabb — IV — 116.) We get so accustomed to the mar- 
 vels of nature all about us that, sometimes, we take them 
 as matters of course and lose the sense of wonder at the 
 mysteries wrapped up in the commonest things. Father ' 
 Tabb's little poem ought to help us recover some of this 
 lost feeling. Who are the "little masters"? Why so 
 called? In what attitude doe? he stand before them? 
 What does this attitude indicate? How long does he 
 propose to stand so? Why "threefold" mystery? What 
 does the poet long to know? What is the question of the 
 third stanza? What are the sky and the sunshine called? 
 (Gossips are wise old women who take care of new-born 
 infants.) What is the question of the fourth stanza? In 
 the old story the Genie (wonder-worker) could bring 
 forth out of a little seed the most wonderful figures and 
 cause them to disappear again in the seed. How does the 
 last stanza suggest the humility of the inquirer in the 
 presence of the unsolved mystery? 
 
 COCK AND THE FOX, THE 
 
 (Chaucer — II — 98.) Are foxes and roosters friendly as a 
 usual thing? What are the main characteristics of the 
 fox? What of a rooster? Chanticleer, (meaning a clear 
 singer) the old name used instead of cock or rooster — 
 Why would the cabbage-bed be a good place for the fox 
 to hide in? What would the cock likely be in the 
 cabbage-bed for? What plan did the fox use to get the 
 
 51 
 
ear and sympathy of the cock? What was the result? 
 Why did all the animals make a noise when the fox ran 
 off with the cock ? What idea came into the cock's mind 
 that saved him? Was the cock's method the same as the 
 fox's? What was the result of the cock's experience in 
 the way of wisdom? What was the result of the fox's 
 experience in the way of a lesson? Were these animals 
 well-matched in wits? 
 
 COLERIDGE, SAMUEL TAYLOR 
 
 Born at Ottery St. Marys in Devonshire, England, 
 October 21, 1772, educated at Cambridge, served a while 
 in the arm}'-, and wrote in connection with Wordsworth 
 "The Lyrical Ballads." His poetry is distinguished by 
 the presence of the weird and superstitious, as may be 
 noted by reading "The Ancient Mariner" and "Christabel." 
 The former is on the list of college entrance require- 
 ments in English. Coleridge was a student of German 
 philosophy and criticism and has justly been given credit 
 for the introduction of the higher or philosophical 
 method into English critical literature. The reports of 
 lectures upon Shakespeare, and other great writers, while 
 fragmentary, are very stimulating. He died at Highgate, 
 July 25, 1834. Satisfactory collections of his works are 
 found in the Bohn Library. Life by Traill in the English 
 Men of Letters or by Hall Came in the Great Writers 
 series. Selection: V, 269. 
 
 COLERIDGE, SARA HENRY 
 
 Daughter of the poet, Coleridge. Born at Keswick, in 
 1803 and died in 1852. She did considerable literary work 
 including a tale called "Phantasmion," and "Pretty Les- 
 sons for Good Children." 
 
 Selection : II, 28. 
 
 COTTON, CALEB CHARLES 
 
 Name should be written as above, according to the title 
 page of his "Lacon." He was born at Salisbury, Eng- 
 land, about 1780, and died by his own hand at Fontaine- 
 bleau, France. He was educated at Eton and Cambridge. 
 
 52 
 
He had a passion for gambling and had to leave England 
 to escape his creditors in 1828. He spent some time in 
 America and then made his way to Paris where he is 
 said to have made an immense amount of money by suc- 
 cessful play. His death grew out of dread of an impend- 
 ing surgical operation. His most famous book was called 
 "Lacon, or Many Things in Few Words," first published 
 in 1820. "It is one of the most excellent collections of 
 (ethical) apothegms in the language." A selection from 
 this work is given in the fourth reader, page 75. 
 
 COLUMBUS 
 
 (Miller— V— 306.) As a preparation for the study of 
 this poem it would be well to read chapters II and III 
 of the third book of Irving's "The Life and Voyages of 
 Columbus." Of course the poet has simplified the story 
 by making Columbus the immovable type of determina- 
 tion and singleness of purpose. 
 
 (1) Notice how the appeals of the mate keep the seem- 
 ing hopelessness of the voyage before you. Do things 
 seem worse with each successive appeal? (2) Is there 
 anything about Columbus and his single reply that re- 
 minds you of Longfellow's hero in "Excelsior"? (3) What 
 was the "spray of salt wave" in lines 11 and 12? (4) 
 "How is the loneliness of their situation suggested in the 
 third stanza? (5) Do you like the figure in lines 26-28? 
 (6) Consider the comparison in line 31. (?) Does the 
 finding of land seem especially fitting after such a spirit 
 as Columbus has shown? Does it come at an especially 
 appropriate time? (8) Is line 37 to be taken literally, or 
 is it a- poetic fancy? (9) Study the meaning of line 38. 
 (10) What was the grand lesson Columbus gave the 
 world he had gained? (n) Do you find this poem of a 
 dramatic, stirring quality? 
 
 (These suggestions for study are taken from Curry's 
 "Literary Readings," by permission of the publishers, 
 Rand, McNally & Co., Chicago.,) Azores. These islands 
 are about 800 miles west of Portugal.— Gates of Hercules. 
 The Straits of Gibraltar. They were supposed, in ancient 
 
 53 
 
times, to mark the end of the world, and to have been 
 split apart by the Greek hero Hercules. — Shows his teeth. 
 The dashing waves were crested with foam. 
 
 CONCORD 
 
 (Emerson — V — 274.) Emerson's title and sub-title are 
 as follows: "Concord Hymn: Sung at the completion of 
 the Battle Monument, April 19, 1839." This hymn was 
 as the sub-title indicates, written to celebrate the comple- 
 tion of the monument which commemorates the fighting 
 at the bridge with which the battle of Lexington opened. 
 It is probably the most widely known of Emerson's 
 poems, and two lines, the third and fourth of the first 
 stanza, have passed into household words. Noble 
 ("Studies in American Literature") comments on these 
 lines thus: "The one long word 'embattled' puts the 
 fight before us, and the terse monosyllables of the last 
 line hit the mind like bullets. The story of the immeasur- 
 able results following from our war of independence is 
 all suggested in that compact line, and it fastens itself 
 upon the memory with a grip that is hard to shake off." 
 Dr. Oliver Wendell Holmes in his "Life of Emerson" 
 says: "Of all Emerson's poems the 'Concord Hymn' is 
 the most nearly complete and faultless, — but it is not dis- 
 tinctly Emersonian. It is such a poem as Collins might 
 have written, — it has the very movement and melody of 
 the 'Ode on the death of Mr. Thomson,' and of the 'Dirge 
 in Cymbeline,' with the same sweetness and tenderness 
 of feeling. Its one conspicuous line, 'And fired the shot 
 heard round the world,' must not take to itself all the 
 praise deserved by the perfect little poem, a model for 
 all of its kind. Compact, expressive, serene, solemn, 
 musical, in four brief stanzas it tells the story of the past, 
 records the commemorative act of the passing day, and 
 invokes the higher Power that governs its future to pro- 
 tect the Memorial stone sacred to freedom and her 
 martyrs." 
 
 — What do you learn from stanza 1? Could the last 
 line be literally true? Explain just what it means. (Mr. 
 
 54 
 
Noble's note above.) What do you learn from stanza 2? 
 To whom does "foe" refer? "Conqueror"? Would it not 
 be well to add a fourth point to the analysis made by Dr. 
 Holmes and insert it second in order: "Indicates the 
 changes that have taken place"? This gives a reason for 
 the monument. How may memory redeem their deed? 
 (Hold in loving recollection— thus compensating for the 
 sacrifice.) To what is the appeal of the last stanza made?. 
 What is the appeal? Wnai does the last line tell you 
 about the purpose of the monument (shaft)? What feel- 
 ing does this poem awaken in you toward the "heroes" 
 who dared to die? — St. 1. Embattled. Drawn up in battle 
 array, ready for battle. — St. 2. Soft stream. Placid, quiet, 
 gentle. — Votive. Dedicated by a vow, i. e. in this stone is 
 seen our vow of allegiance to the principle of liberty for 
 which our sires fought. — Notice the personifications in 
 stanzas 2 and 4. 
 
 COOPER, GEORGE 
 
 * Selections: III, 197; IV, 253. 
 
 COOPER, JAMES FENIMORE 
 
 The first novelist in American literature whose books 
 are still popularly read. He was born in Burlington, New 
 Jersey, Sept. 15, 1789. Shortly after the family settled on 
 a great tract of land in New York, and Cooperstown was 
 the home of Cooper until his death. At the age of thirteen 
 he was sent to Yale but left before graduating. Ambitious 
 to go into the navy, he made a voyage in a merchant 
 vessel and. acquired that intimate knowledge of sea life 
 which he used so exclusively in one group of his books. 
 After three years in the navy he resigned, and having 
 married, settled down to the life of a country gentleman. 
 According to the oft-told story his first book grew out of 
 bis disgust with an English novel he was reading. This 
 first novel was of no consequence, but Cooper learned 
 that he could tell a story, and his second book "The. Spy" 
 was one of his greatest works. Of the long list of books 
 which he wrote, the following selections grouped accord- 
 ing to character may be helpful: 
 
 55 
 
1. The Leather-Stocking Tales. These comprise five 
 titles and should be read in the following order to get the 
 full story of the central character: "The Deerslayer," 
 "The Last of the Mohicans," "The Pathfinder," "The 
 Pioneers," "The Prairie." 
 
 2. Tales of the Sea. "The Pilot" and "The Red Rover" 
 are probably the best stories of this group. 
 
 3. Tales of Colonial and Revolutionary History. "The 
 Spy" is the best known, and deservedly so, of this group. 
 "Lionel Lincoln" has in it what Bancroft declared was 
 the best account ever written of the battle of Bunker 
 Hill. 
 
 Cooper was much given to controversy and unfortunately 
 spent much good effort in that direction. His style has 
 about all the faults possible in matters of detail, but his 
 powers of narration and vividness of description are so 
 great that the reader does not notice the faults. (The 
 best account of Cooper may be found in the life by 
 Lounsbury, in the American Men of Letters series.) 
 
 Selection: V, 241. 
 
 CORN SONG, THE 
 
 (Whittier — IV — 129.) This song is one of the poems in- 
 the group called "Songs of Labor" written in 1845 and 
 1846. These songs of labor are especially interesting be- 
 cause they enshrine in poetry fovms of labor that have 
 now practically disappeared in the presence of modern 
 industrial development. The last song in the group is 
 "The Huskcrs" and it gives a vivid aecount of an old 
 fashioned "husking bee." At last in the course of the 
 evening's work and merriment 
 
 "Urged by the good host's daughter, a maiden young and 
 
 fair, 
 Lifting to light her sweet blue eyes and pride of soft 
 
 brown hair, 
 The master of the village school, sleek of hair and smooth 
 
 of tongue, 
 To the quaint tune of some old psalm, a husking-ballad 
 
 sung." 
 
 56 
 
A.nd this selection gives you the words of his ballad. 
 Picture the background of the song, the heaps of corn on 
 the floor of the old barn, the lanterns swinging overhead, 
 the old men in one corner relating their stories of the 
 past, the children jumping and rolling over the piles of 
 corn, and the young people in a group, with their merri- 
 ment, which increases whenever a red ear happens to 
 make its appearance. Does this seem a fitting song for 
 such an occasion? Why call the corn a "a wintry hoard"? 
 Can you explain the last two lines of stanza I? (Accord- 
 ing to a mythological story the goat's horn was endowed 
 with the power of furnishing its possessor with an abund- 
 ance of what he desired, and so has become the symbol 
 of plenty.) What contrast is stated in the second and 
 third stanzas? Why call the corn a "hardy gift"? State 
 the steps in the history of corn as given in stanzas four 
 to eight inclusive? Explain the following expressions: 
 "changeful April," "robber crows," "soft and yellow hair,^ 
 "frosted leaves." Do you know which is the "harvest" 
 moon? What compliment does the last step in the history 
 of the corn give the singer a chance to pay? (Stanzas 9 
 and 10.) With what contrast does he approach the com- 
 pliment? Explain "homespun beauty"? What do the last 
 three stanzas do? (i. They shame the scorner of the 
 simple delights of farm life. 2. Assert the superiority 
 of corn over other products of the earth. 3- Return 
 thanks for the "golden corn.") Vapid. Empty headed.— 
 Samp. A kind of hominy.— Wide old kitchen hearth. Can 
 you find anything like this in a modern house? (If you can 
 find a picture in some magazine or in some book about 
 early New England life it will help those who have no ex- 
 perience to build upon.) This poem is especially good in 
 connection with the present day feeling that it would be 
 wise -to emphasize the advantages of a "return to the 
 soil. 2 ' Whittier mav be a little too scornful in the ninth 
 stanza since empty-headedness is not the sole possession 
 of the well-to-do but he is certainly right in emphasizing 
 the virtues of a less complex way of living. 
 
 57 
 
COWPER, WILLIAM 
 
 Born at Great Berkhamstead, England, in November, 
 1731. He was a man of the most sensitive nature, given 
 to fits of melancholia. Any kind of mental strain, due to 
 contact with the hard facts of the world, was likely to 
 throw his mind off its balance. He finally came under 
 the care of a friend who shielded him from such contact 
 and made it possible for him to do his work. This work 
 was of great importance, and Cowper ranks as one of the 
 great figures in the early stages of the Romantic move- 
 ment in English literature. His long masterpiece is called 
 "The Task," and while it is not read as a whole certain 
 passages from it are found in nearly all collections. The 
 "Olney Hymns" contain some of our most familiar 
 hymns, such as, "There is a fountain filled with blood," 
 and "God moves in a mysterious way." "John Gilpin's 
 Ride" is a humorous masterpiece not likely to lose its 
 flavor. "On Receipt of My Mother's Picture" is noted for 
 its pathos. Cowper died April 25, 1800. 
 Selection: IV, 184. 
 
 CRADLE SONG 
 
 (Anon. — II — 57.) This is one of the favorite lullaby 
 songs for children. It combines the beauty of fanciful 
 conception with the music of sound. There is a rocking 
 melody in the verse that appeals very strongly to chil- 
 dren. From the little touch of reality in the line that tells 
 the father is a shepherd, the fancy wanders to the 
 mother's occupation which at that moment is, singing the 
 baby to sleep. The figure of the dreamland tree is so 
 delicate that too much analysis is apt to destroy its beauty. 
 Then comes the bit of fancy in regard to the stars and 
 the mocn all of which is easy for the child's mind to 
 grasp if it has known previously about real sheep and 
 shepherds. The repetition of the first stanza, intensifies 
 the sense of drowsiness, the intellectual interest waning 
 in inverse proportion to this feeling. No finer way of 
 giving a song like this can be found than the actual sing- 
 ing it, there being appropriate settings for most of such 
 well-known lullabies. 
 
 58 
 
CRANCH, CHRISTOPHER PEARSE 
 
 Born at Alexandria, Va., in 1813. Studied theology, bu\ 
 retired from the ministry in 1842. Had some connection 
 with the Transcendentalists and wrote verse for "The 
 Dial." He spent several years in Europe studying art. 
 After 1871 he devoted himself entirely to literature. With 
 the exception of some of his verse, his work is little 
 known. His translation of the "Aeneid" in blank verse 
 has much merit. He died in 1892. 
 
 Selection: IV, 81. 
 
 CRATCHITS' CHRISTMAS DINNER, THE 
 
 (Dickens— V— 100.) This passage is a section from one 
 of the greatest of Christmas stories, "The Christmas 
 Carol." No other author has such wonderful power of 
 sympathetically presenting the poor as Dickens, and in 
 this story and this particular passage he is at his best. 
 There is a splendid dash and humor about it all that 
 makes one feel that if poverty can have such joys as are 
 here recorded and can make such splendid results out of 
 such unpromising material, it is certainly not without its 
 compensations. While Dickens' enthusiasm ought not to 
 make those who are well off less charitably inclined, it 
 ought to impress every reader with the idea that riches 
 are, after all, of the spirit. And in that respect the 
 Cratchits are certainly blessed. By all means read the 
 whole story. It is not so long but that it could be read 
 aloud to the school toward Christmas time, 
 
 Scrooge, you should understand in beginning, is the 
 miserly employer of Bob Cratchit. He has no love for 
 his fellow beings, no use for the Christmas season. In 
 a series of visions the Spirit of Christmas is allowing 
 Scrooge to look into the heart of things and learn the 
 secrets of happiness from which he has excluded himself. 
 Name the Cratchits, tell what you can about the ap- 
 pearance of each, and note the air of excitement and 
 bustle caused by the great event about to take place. 
 What members of the family are not present at first? 
 Why was Martha late? How was she received? Tell 
 
 59 
 
about the appearance of Bob and Tiny Tim. Why is 
 everybody so tender toward Tiny Tim? What was the 
 effect of Martha's joke on Bob? Tell about Tiny Tim 
 at church. Why did Bob's voice tremble when he spoke 
 of it? Describe the steps in the dinner. Try to read 
 those passages about the goose and the pudding so as to 
 bring out the hilarious happiness and satisfaction of all 
 concerned. What toasts were proposed at the close? 
 Why did Mrs. Cratchit object to the second one? What 
 made her change her mind and join in it? What was 
 Tiny Tim's toast? — Ubiquitous. Everywhere, omnipresent. 
 Throughout the whole selection runs this humorous ex- 
 aggeration. Indicate some of the best instances. — 
 Bedight. Decorated, 
 
 CRICKETS' SCHOOL, THE 
 
 (Pierson — III — 45.) Information about the cricket may 
 be bound up with a good moral lesson, as this selection 
 shows. What do ycu learn of the nature and past history 
 of the fat old cricket from the opening paragraphs? 
 What facts did he bring out in the lesson about the big 
 world he had come in contact with? Incidentally what 
 facts do you learn about the crickets, especially as to how 
 they hear and sing? What breaks up the lesson? What 
 makes this incident a humorous one? Do you suppose 
 the crickets are really as much interested in the strange 
 facts about us as we are in the strange facts about the 
 crickets? 
 
 CROSS BOX 
 
 (Anon. — II — 61.) Does the weather affect the temper 
 of people? Is it harder to be pleasant shut up in the 
 house than when out of doors? Who thought of having 
 a Cross Box? What were the different suggestions as 
 to the use of the money put in the Cross Box? Who was 
 the first to pay a fine? Do you think such a box a good 
 thing? 
 
 CUNNINGHAM, ALLAN 
 
 Born in Dumfrieshire, Scotland, in 1784. He was a 
 stone-mason by trade but gave himself early to writing 
 
 60 
 
songs and collecting popular traditions. The ballads 
 which he contributed to various collections were, in the 
 main, original though professing to be old popular songs. 
 His later life was spent in London. Some miscellaneous 
 writings, a well-known life of Burns, and several collec- 
 tions of songs, make up his works. He is now mainly- 
 remembered by his fine sea song, a portion of which is 
 given in the fourth reader, page 229. Cunningham died in 
 1842. 
 
 CURATE AND THE MULBERRY TREE, THE 
 
 (Peacock — IV — 23.) Read this poem through and be 
 able to tell the story. What was the main characteristic 
 of the curate's mare? What method did the curate take 
 of getting the berries and avoiding the briars? What un- 
 intentional error did he make? What is the moral as 
 marked in the last line ?— Curate. A priest or minister. — 
 Tractable. Easily managed. — Put forth her mettle. The 
 word "mettle" means high spirits, or good qualities. — 
 To boot. In addition. — Courser. A swift horse. — Docile. 
 Easily taught. — Fond. Foolish. — How many lines in each 
 stanza? How are the rhymes arranged? In reading the 
 lines do you find that they seem to embody the movement 
 of the mare? Read some lines so as to bring out the 
 rhythm. Here is the opening line, with accented syllables 
 indicated. 
 
 Did you hear' 1 of the Cur' | ate who moun' 1 ted his mare' 
 
 CURIOUS INSTRUMENT, A 
 
 (Taylor — IV — 179.) The selection is a good illustration 
 of a kind of literature for young people that was very 
 common in the middle and early part of the Nineteenth 
 Century. It consisted in presenting knowledge by means 
 of a kind of riddle-like story in which some common 
 thing was emphasized by awakening curiosity about its 
 well known, but in this case, unidentified characteristics. 
 In this case the children are thrown off the track by the 
 assumption that the father is talking of something he had 
 bought in London. Make a list of all the facts brought 
 
 61 
 
out in the description and in the conversation about the 
 eye. Did you guess what it was before the end? 
 
 Portmanteau. A satchel. — Diversity. Variety. — Deci- 
 phering old manuscripts. Books were originally written 
 on some kind of parchment, before the days of printing, 
 and are often very difficult to decipher, i. e., to interpret. 
 
 CURTIS, GEORGE WILLIAM 
 
 Born in Providence, R. I., in 1824. He was at Brook 
 Farm for a brief time, and in 1846 went to Europe. 
 Several of his earlier books grew out of these three or 
 four years abroad. His early work seems to us at present 
 rather flowery and full of exaggeration, but as Curtis grew 
 older and the problems of freedom and good government 
 became vital ideas to him, he gradually acquired a dignity 
 and urbanity of style that made him one of the most 
 agreeable speakers and writers of his day. As the writer 
 of the department called "The Editor's Easy Chair" 
 in "Harper's Monthly" he was widely popular. Perhaps 
 his most read book at present is the delightful "Prue and 
 I." He died August 31, 1892. 
 
 Selection: V, 270. 
 
 DAFFODILS 
 
 (Wordsworth — 1804 — V — 249.) * Fenwick quotes Words- 
 worth: "The two best lines in it are by Mary. They (the 
 daffodils) grew, and still grow, on the margin of Ulls- 
 water, and probably may be seen to this day as beautiful 
 in the month of March, nodding their golden heads be- 
 side the dancing and foaming waves." Mary was the 
 poet's wife and the two lines referred to are 
 They flash upon that inward eye 
 Which is the bliss of solitude. 
 
 To these two lines in the 1815 edition there was a foot- 
 note saying: "The subject of these stanzas is rather 
 an elementary feeling and simple impression (approach- 
 ing to the nature of an ocular spectrum) upon the 
 imaginative faculty, than an exertion of it." — Notice that 
 the poem seems to give an experience in the life of the 
 
 62 
 
speaker. What is his condition when the poem opens? 
 Where was he? Tell what he saw. Be careful to dwell 
 upon the scene until it is perfectly clear. What was the 
 main thing about the daffodils that impressed him? What 
 effect did the sight have upon his state of mind? What 
 is the wealth that the show brought to his mind? (Ex- 
 plained in the last stanza. Often when he is vacant or 
 pensive the memory of the scene comes to him ["flashes 
 upon that inward eye"] and fills him with the same pleas- 
 ure he had when he saw the daffodils). 
 DARTON, F. J. H. 
 
 Author of "The Merry Tales of the Wise Men of 
 Gotham." 
 
 Selection: III, 60. 
 
 DASENT, GEORGE WEBBE 
 
 A noted English scholar and author, born in the West 
 Indies in 1820. He was educated at Oxford, became civil 
 service commissioner in 1870, and was afterward connected 
 with "Eraser's Magazine" and the "London Times." His 
 special field of study was in connection with the language 
 and literature, of the Northmen. He edited an important 
 "Icelandic-English Dictionary." His volume of popular 
 tales from the Norse called "Tales from the Fjeld" is one 
 of the finest collections accessible in English. He died in 
 1806. 
 
 Selection: III, 142. 
 
 DAYRE, SIDNEY 
 
 Selections: II, 5; III, 200. 
 
 DAY WITH SIR ROGER, A 
 
 (Addison — V — 227.) In the famous periodical called 
 "The Spectator" (See Addison) there appeared a series 
 of sketches which presented the delightfully whimsical 
 character of an imaginary English country gentleman, Sir 
 Roger de Coverley. "Sir Roger" is the earliest person in 
 English imaginative prose that is really still alive. There 
 are men and women in our poetry before his day — in the 
 drama there is, of course, a great host of them; but in 
 
 63 
 
prose literature Sir Roger is the first. Furthermore, the 
 men and women of the drama, even in that comedy of 
 manners which professed to reflect most accurately con- 
 temporary society, were almost always drawn with some 
 romantic or satiric exaggeration; but there is no exag- 
 geration in the character of Sir Roger. Here was the be- 
 ginning of a healthy realism." (Winchester.) As you 
 read this selection through does Sir Roger seem to you a 
 real person? 
 
 This selection was No. 122 of "The Spectator," pub- 
 lished July 20, 171 1. It had as its motto a Latin quota- 
 tion from the "Maxims" of Publius Syrus; "Comes in- 
 cundus in via pro vehiculo est," which has been trans- 
 lated, "A jovial companion on the way is as good as a 
 feast." Discuss the fitness of this motto as a heading for 
 this particular story. 
 
 The first paragraph of the paper is omitted in the reader. 
 It is general in character. Read it. below and then con- 
 sider whether it states fairly what the account of Sir 
 Roger really brings out: 
 
 *'A man's first care should be to avoid the reproaches 
 of his own heart; his next, to escape the censures of the 
 world. If the last interferes with the former, it ought 
 to be entirely neglected; but otherwise there cannot be a 
 greater satisfaction to an honest mind than to see those 
 approbations which it gives itself seconded by the ap- 
 plauses of the public. A man is more sure of his conduct 
 when the verdict which he passes upon his own behavior 
 is thus warranted and confirmed by the opinion of all 
 around him." 
 
 What does the first paragraph tell you about the rela- 
 tions existing between Sir Roger and his neighbors? In 
 what connection did the incidents narrated here take 
 place? Sketch the characters of the two men overtaken on 
 the way. How did Sir Roger settle their dispute? Why 
 were both satisfied? What happened in the court? Re- 
 late the incident of the sign-post. How was Sir- Roger's 
 famous saying turned humorously against him? — Carry. 
 Conduct, or take along.— County Assizes. The Sessions 
 
 64 
 
held periodically by at least one of the superior judges in 
 every county in England. — Plain. Ordinary. — Yeoman. 
 A small freeholder. — Just within the game act. A law 
 passed in the reign of James I and in force until 1827 
 provided that no person could shoot game unless pos- 
 sessed of an income of forty pounds a year, or two hun- 
 dred pounds' worth of goods and chattels. — Shoots flying. 
 He gives the game a chance as a true sportsman. — Pett# 
 jury. The twelve men who determine cases, according to 
 the evidence. How different from the Grand Jury? — Tak- 
 ing the law. Sueiug at law. — Quarter sessions. A crimi- 
 nal court held once a quarter. — Some pain for him. Fear- 
 ful lest he make a fool of himself. — Intrepidity. Bravery. 
 — Court rose. Adjourned. — Put him up in a sign-post. In 
 former times taverns and shops were indicated by some 
 sign, generally painted, at the door. With the numbering 
 of streets this method of identification is no longer neces- 
 sary, though the practice still survives in connection with 
 English inns. — Saracen's Head. The Turk's head was one 
 of the commonest signs used. 
 
 DEAD CALM AT SEA 
 
 (Coleridge — V — 269.) These five stanzes are taken from 
 the second section of "The Rime of the Ancient Mariner." 
 While interesting merely as an expression of the idea 
 stated in the title here given it, the passage can not be 
 fully understood apart from its context. If the teacher 
 will read or tell to the class the story of the old mariner's 
 crime it will throw light on the situation here described. 
 Notice the sense of isolation suggested by the first stanza. 
 Explain the second line. Imagine yourself where you can 
 look back at the effect on the water of a moving boat. 
 How does the second stanza mark the calm? How did 
 the sun appear? Why? How~ does the word "painted" 
 deepen the impression of the calm? Notice particularly 
 the repetitions in the fourth and fifth stanzas. Try to de- 
 termine what the poet gains by them. Commit these 
 stanzas and read them so as to bring out the terrible con- 
 dition set forth. 
 
 65 
 
DEATH OF KING ARTHUR, THE 
 
 (Malory— V— 295.) Sir Thomas Malory's "Morte 
 d'Arthur" (Death of Arthur) written in the fifteenth cen- 
 tury is not only the greatest collection of the stories of 
 King Arthur, but also one of the great monuments of our 
 English prose. This particular passage is one of the finest 
 in the work. It is interesting to read Tennyson's "Pass- 
 ing of Arthur" from "The Idylls of the King" to see how 
 closely he has followed Malory. At first the language 
 here will strike you as strange, but a little practice and 
 care will enable you to understand it, and to catch its 
 splendid musical quality. King Arthur has just been mor- 
 tally wounded ("Now have I my death") and his two 
 loyal Knights are trying to carry him from the field. What 
 happened to Sir Lucan? What tribute did Arthur pay to 
 bim? What command did he give Sir Bedivere? Why 
 did Bedivere fail to carry out the command? How often 
 did he fail? What happened when he did throw the sword 
 into the lake? What finally became of King Arthur? 
 What were his final words to Bedivere? 
 
 The modern forms of a few of the expressions may be 
 here indicated. Try to understand it thoroughly in the 
 form given to the language by Malory. — Sore. Sorely. — 
 The one part. . . .the other. One carried his feet, the other 
 his head. — Brast. Burst. — Full heavy. Very heavy. — Wit. 
 Know. — And I might. If I might. — Hieth. Passeth. — 
 And lightly. And (I will) quickly.— Pommel. The ball or 
 knob on the end of the sword haft. — Lief. Loved. — Eft. 
 Again. — Wap...wan. Strike upon the shore. — Weened. 
 Thought.— Jeopardy. Danger.— But if. Unless.— Fast b,y. 
 Near.— Avilion. The land of the blessed in Celtic myth- 
 ology where the great heroes were carried at death. 
 
 DEATH OF NELSON, THE 
 
 (Southey— V— 93.) Southey's "Life of Nelson," though 
 now regarded as untrustworthy, is one of the most inter- 
 esting biographies ever written. It is full of dramatic 
 quality and its vividness compensates for its lack of com- 
 plete accuracy. This brief extract is a good illustration of 
 
 06 
 
the striking qualities mentioned. Nelson was killed at the 
 famous battle of Trafalgar, off the coast of Spain, October 
 21, 1805. In this battle the combined French and Spanish 
 fleets were completely defeated. 
 
 The passages which make up the four pages given are 
 scattered passages from the account of the battle and 
 much adapted. With what kind of attitude did Nelson 
 approach the battle? What signal did Nelson make to 
 the fleet? Try to determine why this signal is such a 
 famous one. What illustrates Nelson's humanity? How- 
 did he receive his wound? Why did he conceal his identity 
 from the crew while being carried below? What seemed 
 mainly on his mind while the battle continued? Describe 
 the final scene between him and Hardy. Where did he 
 want to be buried? Nelson was buried at St. Paul's 
 Cathedral, London, on January 9, 1806. The public dem- 
 onstrations accompanying the burial were very remark- 
 able. — Blackwood and Hardy were both captains in the 
 British fleet, Hardy being in command of Nelson's flag- 
 ship, The Victory. There is a bad misprint in the first 
 sentence of the second paragraph. The word warning- 
 should be wanting. — Mizzentop. Sharpshooters were sta- 
 tioned on a platform high on the mizzen or after mast. — 
 Tiller. The lever by which the rudder or steering ap- 
 paratus is controlled. — Rove. Fastened. — Stars. The signs 
 of his rank as admiral. — Cockpit. A room on the lower 
 gun-deck of the old ships of war occupied by the junior 
 officers, and during battle used by the surgeon and his 
 patients. — Van. Leading ships. — Tacked. Turned about. 
 
 DEFOE, DANIEL 
 
 Born about 1661 in London, the son of a butcher. Defoe 
 was educated for the ministry, went into business, was 
 unsuccessful, was successively a soldier, bankrupt, political 
 pamphleteer, editor, political emissary, and writer of fic- 
 tion. He is known mainly by his "Robinson Crusoe" 
 which is regarded as one of the greatest stories ever 
 written. His talent for making everything seem real was 
 remarkable. He wrote many successes besides "Robin- 
 
 67 
 
son Crusoe," but they have not lived in the popular 
 mind. He died in I73 x « 
 Selection: IV, 42. 
 
 DELAND, MARGARET 
 
 Born at Allegheny, Pa., 1857. Educated at New 
 Rochelle, N. Y., and was a teacher of industrial drawing 
 until her marriage in 1880. Since that date she has lived 
 in Boston. Among her writings are "John Ward, 
 Preacher," -'The Wisdom of Fools," "Old Chester Tales," 
 "The Awakening of Helena Richie." Selection: III, 34. 
 
 DELIGHTS OF FARMING, THE 
 
 (Warner — V — 192.) This selection is Chapter III of 
 Charles Dudley W T arner's "Being a Boy," with a few 
 small omissions and changes. It is full of humor and can 
 be used as a means of creating a greater love for the 
 country and out-of-doors generally. Are the characteris- 
 tics of the boy those that he sees in himself or is this the 
 way it looks to one who is grown up? Compare with 
 Whittier's "Barefoot Boy." You will find that the writer 
 emphasizes one fact about the boy. What is it? Do 
 you think he is altogether right about it? Name the "de- 
 lights" of farming that are mentioned in the selection. 
 Tell about the holidays. Select some of the passages 
 that seem to you most humorous. 
 
 Selectman. One of a group of officers chosen to man- 
 age local affairs in New England towns. This reference 
 shows what section of the country the boy told about 
 lived in. — Prince Imperial. The heir to the throne in 
 France. — Bois de Boulogne. A great park in Paris.— 
 Swiss Family Robinson. A noted story for young people. 
 See the selection from that book on page 63 of the fifth 
 reader. — Delmonico's. A well-known eating place in New 
 York City. 
 
 DEWDROPS 
 
 (Butts— III— 20.) A simple little "conceit." What 
 were the little diamonds? and what happened to them? 
 Do you suppose there were just a million of them? Why 
 
 68 
 
did the author use a definite number in referring to them? 
 Why call them diamonds? What made them twinkle? 
 Have you ever observed what the poem tells about? 
 
 DICKENS, CHARLES 
 
 Born at Landport, England, February 7, 1812, studied 
 law, but finding it distasteful began work as a reporter 
 on the "Morning Chronicle." Here his first sketches, 
 written over the pseudonym of Boz, appeared, soon fol- 
 lowed by the "Pickwick Papers" which at once placed 
 him in the front rank of the writers of the day. The re- 
 mainder of his life was devoted to the composition of 
 fiction, the story of "David Copperfield" being perhaps 
 the best known of his works. Into this book Dickens is 
 reported to have introduced much material based upon 
 his own career. Dickens made two visits to the United 
 States and was unsparing in his criticism upon the follies 
 of our people as he saw them, in his "American Notes" 
 and in his "Martin Chuzzlewit." He died at Gad's Hill, 
 Tune 9, 1870. His works are published in a great variety 
 of forms and may be had at almost any price the pur- 
 chaser wishes to pay. The standard life is by John Fors- 
 ter, published in America by Harper & Bros., New York. 
 A very stimulating little book on Dickens is that recently 
 written by G. K. Chesterton. 
 
 Selection: V, 100. 
 
 DISSERTATION ON ROAST PIG, A 
 
 (Lamb — V — 167.) Charles Lamb is one of the most 
 delightful writers of prose in the language and this is 
 one of his most delightful productions. To speak more 
 accurately this is a part of that production only, and it 
 is made by a process of cutting out more than half of 
 it and "telescoping" what is left. But it is probably bet- 
 ter than none a.t all and the pupil may be encouraged to 
 read more of Lamb. It is a "skit" or "take off" and is 
 told with such convincing realism that one is tempted to 
 believe that it all happened just that way. 
 
 How did mankind originally eat their meat? Tell the 
 story of how roast pig was discovered. What kind of 
 
 69 
 
boy was Hoti? What happened when his father came 
 home? Why were they not punished? Why was the 
 original way of securing roast pig not wholly satisfac- 
 tory? Do you suppose the world has made many of its 
 steps forward by some such blundering as that imagined 
 by Lamb? What is a "retributory cudgel"? A "sour 
 mouth"? 
 
 DODGE, MARY MAPES 
 
 Born in New York City, 1838. After the early death 
 of her husband she cultivated an inclination for literature 
 and achieved lasting success in the "Story of Hans 
 Brinker, or the Silver Skates," which has been translated 
 into many European languages. When "St. Nicholas" 
 magazine was founded in 1873, Mrs. Dodge became the 
 editor. She died in 1905. 
 
 Selections: II, 107; III, 93; IV, 256. 
 
 DODGSON, CHARLES LUTWIDGE 
 
 Best known by his pseudonym, Lewis Carroll, an emi- 
 nent mathematician and author, born at Daresbury, Eng- 
 land, in 1832. He was educated at Oxford, and was a 
 mathematical lecturer there from 1855 to 1887. He wrote 
 several mathematical books of high rank. But he is best 
 known as the author of "Alice in Wonderland" and 
 "Through the Looking Glass," two of the most delight- 
 ful and popular books for young people ever written. 
 They "display a delightful combination of mad absurd- 
 ity and subtle fancy." His death occurred in 1898. 
 
 Selection: IV, 149. 
 
 DOLE, CHARLES FLETCHER 
 
 An American minister and author, born at Brewer, Me.; 
 in 1845. Educated at Harvard. He is the author of a 
 great number of bok9 on religious and civic subjects. "The 
 American Citizen" and "The Young Citizen" are two 
 titles that are especially valuable in cultivating a higher 
 patriotism. 
 
 Selection: IV, 239. 
 
 70 
 
DOLL HOUSE, THE 
 
 (Anon. — II — 15.) Do housekeepers paper before they 
 put the furniture in their houses? Why? Why did they 
 use blue and white in the kitchen with Dutch pictures on 
 it? — Looms. Machines for weaving. — Why should May 
 and Fay try to make the doll house as beautiful as pos- 
 sible? Do mothers do this in the homes for their chil- 
 dren? Why does not an ugly house do just as well as a 
 beautiful one? 
 
 DORA AND THE LIGHT 
 
 (Anon. — II — 79.) Why is the life at a lighthouse of 
 necessity lonely? Is it likely to make those living the 
 life, courageous? What were Dora's chief pleasures? 
 Why was Dora's father not there to light the lamp him- 
 self? Why is there such a long stairs to the lighthouse? 
 What do you suppose Dora's father thought when he first 
 saw the light in the distance? What might have hap- 
 pened if Dora had thought she was too small to light the 
 lamp? 
 
 DOUBTING CASTLE AND GIANT DESPAIR 
 
 (Bunyan — V — 41.) This selection is from the latter 
 part of "The Pilgrim's Progress," one of the greatest 
 allegories ever written. The characteristic thing about 
 an allegory is that every event in the story is a symbol 
 of some hidden meaning. Every character stands for 
 some phase of human nature. The names given to the 
 people and places generally suggest their meaning. "The 
 Pilgrim's Progress" pretends to be a dream or vision 
 that came to the writer, in which he saw the journey of 
 Christian from the City of Destruction to the Heavenly 
 City. This journey is to represent what happens to any- 
 one who tries to live a good life. So Pilgrim labors 
 through the Slough of Despond, passes the Wicket Gate, 
 learns some of the more vital principles of life at the 
 House of the Interpreter and still more at the Palace 
 Beautiful, fights successfully with the giant, Apollyon, 
 crosses the Valley of Humiliation, goes down into the 
 
 71 
 
Valley of the Shadow, finally gets safely through Vanity 
 Fair, and seems in a fair way to successful travel, when 
 he makes the great mistake of going out of the right road 
 and going to sleep in the grounds of Doubting Castle. At 
 this stage of his journey he is accompanied by Hopeful. 
 How did they happen to fall into the hands of Despair? 
 What did he accuse them of doing? Did they feel that 
 they had any defense? How were they treated in the 
 Castle? What did Diffidence have to do with it? (Diffi- 
 dence in Bunyan's time meant distrust.) Do you see why 
 Despair and Diffidence were married? What did they 
 try to get the Pilgrims to do? What means did they 
 use? Can you tell how Christian happened to think of 
 the Key of Promise? Tell how they managed to escape? 
 What step did they take to warn other travellers of the 
 danger they had fallen into? (In this story and in Spen- 
 ser's "Faerie Queene" loss of faith plunges the hero into 
 despair. Pilgrim's experience signifies that distrust of 
 God leads one to despair.) From a careful study of the 
 escape, tell what you think the Key of Promise means. 
 
 DOWN TO SLEEP 
 
 (Jackson — V — 32.) This poem expresses the feelings 
 and experiences of the fall season connected with the 
 "going to sleep" of all nature. The quiet melancholy 
 is well expressed through emphasizing a series of facts 
 belonging to the season. The children should imagine 
 the scenes and the facts one after the other. Especially 
 does this poem give an opportunity to connect the facts 
 of the children's rwn experiences with the poem. For 
 instance all will recall days that are cool in the morning 
 and get hot by noon. How does the third line express 
 this fact? Why do the speaker's steps "grow slow, grow 
 light?" What produces the "reverent" feeling? Probably 
 children do not need to analyze this reverence for the 
 mystery of nature's methods; if they are led to feel them- 
 selves in the presence of the surroundings indicated the 
 emotional effect will take care of itself. At any rate it 
 may safely be said that it is important to stimulate the 
 
 72 
 
right feeling in the study of literature, rather than to 
 make the reader conscious of its presence. In the second 
 stanza, what does the speaker find out for the first time? 
 What are the "low tones" that seem so human? Have 
 you ever noticed the noises made by the wind among the 
 bare boughs in the fall? What new experiences are men- 
 tioned in stanza 3? This poem has such fine imaginative 
 quality that the children are apt to find certain expres- 
 sions difficult unless care is taken. "Cover-lids," "sweet 
 eyes shut tight," "viewless mother," "ferns kneel," 
 "chorus,"— just what do all these mean? Can you under- 
 stand from your own experience why the speaker says, 
 "half I smile and half I weep?" Bryant's "Death of the 
 Flowers" might be read for another expression of the 
 same theme. 
 
 The fourth stanza carries the idea over into human life. 
 Trace the parallel. The comparisons of life to the prog- 
 ress of the seasons and to the day are familiar ones. The 
 quiet, tender pathos of the close is well expressed by these 
 symbols. 
 
 DRAKE, JOSEPH RODMAN 
 
 Born in New York, in 1795. His early years were hard 
 but he succeeded in graduating in medicine in 1816. He 
 died of consumption in 1820. He is known as the author 
 of two poems, "The Culprit Fay" and "The American 
 Flag." This latter has a few lines in it that are well 
 known. The pathos of his early death and the fine tribute 
 to his memory by his friend Fitz-Greene Halleck ("Green 
 be the turf above thee") have had much to do in keep- 
 ing- his name alive. 
 
 Selection: IV, 242. 
 
 DUEL, THE 
 
 (Field — II — 151.) This is one of the selections that 
 too great a degree of literalness will spoil. 
 
 Let the child's imagination have its way. If there be 
 a too sceptical attitude, ask him to imagine the ging- 
 ham dog and the calico cat come to life after all folks 
 
 73 
 
What thoughts does the watcher attribute to the dying 
 horse? What do the expressions "weary journey" and 
 "cruel load" make clear? . Notice carefully the language 
 of the third stanza. It may be called the transition 
 stanza. The first two stanzas are about a horse; what 
 are the last two about? Does "one of the day's mishaps" 
 suggest that this is a common or an unusual occurrence? 
 What other expression in the third stanza repeats this 
 idea? Does "a toiler dying in harness" necessarily refer 
 to a horse? Study the last two stanzas to discover what 
 the symbol is, — what this parable of the horse suggests. 
 What does the "street of ever-echoing tread" symbolize? 
 The last three lines summarize the steps in the life of 
 the tireless worker. Does he reach the coveted prize? 
 Dees the world stop to take account of his end? 
 
 ECHO IN THE HEART, THE 
 
 (Van Dyke — V — 92.) Does the poet know the birds 
 in a scientific sense? Explain clearly how he does know 
 them. How does he picture May? This is a good in- 
 stance of personification. How do the birds welcome 
 her? They are called "airy lovers" and "minstrels"; why 
 are these two terms fitting? Explain "weaves strain." 
 Why call the strain "wild-flowery"? Is it possible to en- 
 joy the season and the birds apart from knowing them? 
 Fall back on your own experience for an answer. 
 
 Now, you must carry the thought of the first stanza 
 over into the second to understand it. Do you suppose 
 "darling" refers to a daughter, or a wife, or a sweetheart, 
 or a sister? Could it be any one of these? Why does 
 the poet love the person referred to? Is it because of 
 her beauty? or her noble blood? or because she is either 
 "a new" or 'an old" woman? (What do these terms "old 
 or new" mean when applied to a woman?) Can you now 
 tell what love depends upon? Is it on qualities of spirit 
 that answer to needs of our own spirit? 
 
 EDWARDS, M. BENTHAM 
 
 Selection: II, 128. 
 
 75 
 
were in bed. What could the dog and the cat find to 
 quarrel about? What do dogs and cats usually find to 
 quarrel about? What is it that usually flies when dogs 
 and cats fight? Is it surprising that the Dutch clock put 
 its hands before its face on this occasion? Is it surpris- 
 ing that the Chinese plate looked blue? Don't miss the 
 sly humor in these touches. Would Dutch clocks and 
 Chinese plates not have a different view of a fight be- 
 tween a gingham dog and a calico cat from that which 
 other folks would have? It is upon this authority that 
 we are to believe in the awful fight and that finally they 
 ate each other up. Of course real dogs and cats could 
 not do this, but we need not question it in the case of 
 this dog and cat. 
 
 DUNBAR'S PRIZE 
 
 (Given— III— 203.) What was the notice that excited 
 Dunbar so? Why did the society offer such a prize? 
 How did Dunbar and Grandfather arrange for attracting 
 the martins? What was the result of their efforts? (It 
 would be a fine idea to test this plan and see if you can 
 persuade some martins to settle near your home.) 
 
 DUTY 
 
 (Emerson— IV— 70.) Sometimes a few lines will ex- 
 press a tremendous truth, and that is the fact here. The 
 power of living up to one's highest obligations, and the 
 necessity of doing so, are feelings that dominate the soul. 
 This shows, says Emerson, how near God is to man, how 
 nigh grandeur is to our dust. The young, buoyant indi- 
 vidual is likely to best embody these feelings, hence 
 "youth" in the last line. Commit these lines and make 
 them your motto. 
 
 DYING IN HARNESS 
 
 (O'Reilly— V— 292.) Describe the scene brought to 
 your mind by the first stanza? Imagine yourself in the 
 crowd and think the matter through with the poet from 
 that point of view. What was the teamster trying to do? 
 What does the second stanza tell you about the horse? 
 
 74 
 
EGGLESTON, EDWARD 
 
 "Was born at Vevay, Ind., December 10, 1837. He was 
 largely self-educated. For several years he was engaged 
 in religious work as a Methodist circuit-rider, editor of a 
 religious periodical, lecturer for Sunday-school teachers' 
 institutes, etc. For a while he was on the editorial staff 
 of "The New York Independent," and later editor of 
 "Hearth and Home." Afterward (1874-1879) he was pas- 
 tor of a church in Brooklyn. From then until his death 
 in 1902, he lived on Lake George, devoting himself to 
 various literary projects mainly connected with the early 
 history of America. His most popular book, "The 
 Hoosier Schoolmaster," appeared in 1871. "The Hoosier 
 School Boy," a good second, appeared in 1883. These 
 two books present a type of life that has long since dis- 
 appeared, or at any rate is no longer representative. But 
 as pictures of pioneer conditions these two books will 
 long hold their own. Other widely read novels by the 
 same writer are "The Circuit Rider" (1874), "Rcxy" 
 (1878) and "The Faith Doctor" (1891). His historical 
 studies, "The Beginners of a Nation" (1896), and "The 
 Transit of Civilization" (1900), are attractively written 
 and full of a minute and adequate knowledge of his sub- 
 ject. 
 
 Selection: IV, 19, 92; V, 14. 
 ELIOT, CHARLES WILLIAM 
 
 Born in Boston, Mass., in 1834. He was educated at 
 Harvard and entered the teaching profession. While 
 professor of chemistry in the Massachusetts Institute of 
 Technology in 1869, he was elected to the presidency of 
 Harvard. From this position he has just retired (1909) 
 after an incumbency of forty years. His administration 
 has been in every way a notable one for Harvard. He is 
 largely responsible for the great development of the elec- 
 tive system in this country. As a public speaker he has 
 been in large demand, and his views on all questions con- 
 nected with civic righteousness and the larger life have 
 commanded wide attention. 
 
 Selection: V, 300. 
 
 76 
 
ELIOT, GEORGE 
 
 The pseudonym of the great English novelist whose 
 maiden name was Mary Ann Evans. She was born in 
 Warwickshire, England, November 22, 1819. She was 
 educated at Nuneaton and Coventry. Of a very strong 
 and independent mind she early became an independent 
 thinker and student along religious and philosophical 
 lines. Her first important literary work was a transla- 
 tion of Strauss's "Life of Christ." In 1857 she became 
 an assistant editor of "The Westminster Review," and 
 came thus into contact with such minds as Herbert 
 Spencer, John Stuart Mill, Froude and others. In 1853 
 she united herself to George Henry Lewes, with whom 
 she lived until his death in 1878. In May, 1880, she mar- 
 ried John Walter Cross, but died before the end of that 
 year, December 22, 1880. Mr. Lewes was a critic of no 
 mean ability, and through his encourag*ement George Eliot 
 tried her hand at writing fiction. The stories which com- 
 prise "Scenes from Clerical Life" were received with high 
 praise and were followed by her great masterpieces which, 
 by common consent stand in the first rank of English 
 fiction. These are, "Adam Bede" (1859), "The Mill on 
 the Floss" (i860), "Silas Marner" (1861) "Romola" (1S62- 
 63), "Felix Holt" (1866), "Middlemarch" (1871), "Daniel 
 Deronda" (1876). She wrote a long dramatic poem called 
 "The Spanish Gypsy." Her novels are distinguished by 
 great psychological insight into human character. The 
 problems of life are presented in an unflinching manner, 
 with liberal breadth and sanity. 
 
 The authoritative life of George Eliot is that by her 
 husband, J. W. Cross, in three volumes. One of the best 
 of the many brief discussions of her life and works is 
 that by Sidney Lee in the English Men of Letters. 
 Selection: V, 108. 
 
 EMERSON IN YOSEMITE 
 
 (Muir — V — 264.) In the spring of 1871 Emerson, with 
 a party of friends, made a six weeks trip to California, and 
 it was during this trip that the incidents occurred which 
 
 77 
 
Mr. Muir tells of in this selection. Emerson's mental 
 powers had already begun to fail and there are several 
 references by the writer in which this fact is feelingly 
 referred to. John Muir is one of the greatest of nature 
 lovers and this selection gives us quite as interesting a 
 glimpse of his enthusiasm for nature as it does of Emer- 
 son. Why had he looked forward to Emerson's coming? 
 What plans had . Mr. Muir for getting the best out of 
 Emerson? Was he disappointed? Follow their experi- 
 ences. Select and read the passages in which Mr. Muir 
 tries to infect Emerson with his own enthusiasm. Tell 
 how he spent the night after Emerson departed. What 
 were his relations with Emerson after this time? Notice 
 particularly the naturalist's impatience with the fear of 
 being "out of doors." 
 
 In what sense is "warm" used in the first paragraph? — 
 Explain the comparison, "Serene as a sequoia." The 
 sequoias are the mammoth trees of California. — Gang 
 tapsal teerie — Go topsy-turvy. A Scotch expression. — 
 Good-by, proud, etc. The first line of Emerson's poem, 
 called "Good-Bye." — Mariposa. Name of a valley. — 
 "Come listen, etc." Read Emerson's "Woodnotes." — Pro- 
 bation. Time of trial. — Herbariums. Collections of plants. 
 — Wachusett and Monadnock. Isolated mountains, the 
 first in Masachusetts, the second in New Hampshire. — 
 Sleepy Hollow. The cemetery at Concord. 
 
 EMERSON, RALPH WALDO 
 
 Born at Boston, Mass., May 25, 1803; educated for the 
 ministry, graduating from Harvard in 1821; taught for a 
 while; studied theology under Channing; left the minis- 
 try in 1832 on account of conscientious scruples concern- 
 ing certain forms of worship and devoted the rest of his 
 life to writing and lecturing. Was one of the editors of 
 the "Dial" which ran from 1840 to 1844 as the organ of 
 the transcendentalists. Died at Concord, Mass., April 27, 
 1882. The authoritative edition of his works is published 
 in eleven volumes by Houghton, Mifflin & Co., Boston, 
 Mass., and the authoritative memoir in two volumes by 
 
 78 
 
J. E. Cabot is tissue d by the same house. A good, brief 
 biography is that by Doctor Holmes in the American 
 Men of Letters series. 
 
 Selections: IV, 70; V, 274. 
 
 EMPEROR'S NEW CLOTHES, THE 
 
 (Anderson — IV — 25.) What proof have } r ou in the out- 
 set that the Emperor had a weak character? Did the 
 swindlers take advantage of the Emperor's weakness? 
 What were the advantages of the new clothes the Em- 
 peror ordered from the two strangers? Why did the 
 Emperor send his old minister instead of going himself 
 to see how the weaving was progressing? What did the 
 minister find to be the situation? Did he tell the truth 
 to the Emperor? What was the experience of the second 
 official? Did the Emperor, on his visit, face the truth? 
 What were his motives in keeping up the falsehood? 
 Why did everyone fall into line? What was the grand 
 climax to this growing deception? Who was the first 
 to speak the truth? In what way did the Emperor's new 
 clothes really reveal the ones in the kingdom unfitted for 
 their posts? Who were they? 
 
 ENGLAND 
 
 (Shakespeare — V-— 166.) A portion of one of the dying 
 speeches of Old John of Gaunt in "Richard II." In the 
 course of this bitter, prophetic speech in the first scene 
 of the second act he points out the consequences of 
 Richard's miserable reign. The lines quoted early became 
 famous and were printed in 1600 in "England's Parnassus," 
 a noted book of selections from many authors. What 
 various expressions are used as synonyms for England? 
 Do they all seem fitting equivalents. Do they all magnify 
 England? Show how in each case. Which comparison seems 
 to you must poetic? — Mars was the Roman god of war, 
 and following the defeat of the Spanish Armada and other 
 sucesses at arms, England felt her superiority. — Demi. 
 A prefix meaning hall". England was one paradise, as 
 Eden was the other. — Why had Nature chosen England 
 
 79 
 
as her stronghold? — Moat. A ditch, filled with water, 
 around the walls of a house or fortress for protection. — 
 Is the expression "less happier" strictly correct? In con- 
 nection with this or some other patriotic piece the prob- 
 lem of why patriotic expression always involves more or 
 less of exaggeration might be profitably discussed. Is 
 the writer moved mainly by feeling or by literal common 
 sense? If he confined himself to exact statement could 
 he stir much patriotic feeling in others? 
 ESCOTT-INMAN, H. 
 
 Author of "Jarl the Neatherd" and "The Master of St. 
 Cyrils." 
 
 Selection: III, 123. 
 ESKIMO GAME, AN 
 
 (Schwatka — III — 101.) What is the game called that 
 is described in this selection? Tell in detail just how it 
 is played Do you see why the Eskimo boys should have 
 such a game? Do you know any games in which the 
 same principles are used? What values can you see in 
 such sports? 
 EVE OF WATERLOO, THE 
 
 (Byron — V — 257.) This selection is a portion of Canto 
 III of Byron's "Childe Harold," stanzas 21 to 25 inclusive, 
 omitting stanza 23. The occasion described is the famous 
 ball given by the Duchess of Richmond at Brussels on 
 the evening preceding the beginning of the fighting (June 
 15, 1815) which culminated in the battle of Waterloo 
 (June 18th). Victor Hugo's account of this battle is 
 found in the fifth reader. Wellington had asked his 
 officers to attend the ball in order to conceal as long as 
 possible from the people of Brussels the fact of the 
 French advance. A well-known account of this night is 
 found in chapter XXIX of Thackeray's "Vanity Fair," 
 Bk. 1. The following excellent analysis of these stanzas 
 is taken from Appleton's Fifth Reader, page 251: "Note 
 the coloring of the picture; first, the revelry; beauty and 
 chivalry; happy hearts; music and merry social inter- 
 course; each one absorbed in the pleasure of the moment, 
 
 80 
 
thoughtless of the welfare of the country or of the affairs 
 of the nation; then the sudden warning sound; the anxious 
 questioning; the thoughtless and gay ridicule the alarm 
 that is caused, resist the serious feeling that arises, and 
 urge the renewal of the dance; but the sound grows 
 nearer and clearer, and all become aware of the fact that 
 the French army has attacked the forces of Wellington 
 posted within ten miles of the capital. The overwhelm- 
 ing interest of the occasion: all Europe looking on the 
 last struggle with Napoleon; Napoleon, the great military 
 genius of the age, and the French nation enthusiastic 
 and devoted in his cause; his soldiers inspired with con- 
 fidence by a hundred victories. On the other hand, the 
 proud and stubborn English arrayed under their always 
 successful leader, Wellington, "he that gained a hundred 
 fights, nor ever lost an English gun" (from Tennyson's 
 Ode), who had defeated, one after another, Napoleon's 
 best generals in the Spanish peninsula; the only man 
 who had proved himself able to cope with the forces 
 of Napoleon. Now for the first time, Napoleon and 
 Wellington meet face to face, and the solemn atten- 
 tion of the civilized world is fixed on the issue. If Na- 
 poleon is victorious, he will crush the English army, and 
 then the German army, and no further opposition can be 
 made to his power, which will then be supreme in West- 
 ern Europe. In the 3d stanza (as here arranged — one 
 being omitted because it breaks the connection by intro- 
 ducing a biographical item regarding Brunswick's chief- 
 tain), note private griefs caused, and in the next observe 
 the contrast: all minds concentrated on the one great 
 object, forgetful now of private interests and pleasure, 
 fully aware of the immense importance of the battle now 
 begun. . . . The poem lays more stress on the pri- 
 vate interest than on the national; it is more pathetic 
 than patriotic, but, on the whole, it is the greatest of 
 martial poems." St. 1. Beauty and chivalry. What ex- 
 pression in line four means the same thing? — St. 2. Why 
 glowing hours? — St. 3. Mutual eyes. The seventh line of 
 stanza one defines this expression. 
 
 SI 
 
EVERETT, EDWARD 
 
 Was born at Dorchester, Mass., April n, 1794- Edu- 
 cated at Harvard, of which institution he was afterward 
 president (1846-49). He was a noted statesman and ora- 
 tor. He was in succession, member of Congress, Gov- 
 ernor of Massachusetts, Minister to England, Secretary 
 of State, and United States Senator from Massachusetts. 
 One of his great orations was that delivered at the dedi- 
 cation of the Gettysburg battlefield. He died at Boston, 
 January 15, 1865. 
 
 EWALD, CARL 
 
 A Danish writer, whose work has splendid literary 
 quality. The selection called '"The Mist" taken from his 
 work is one of the best in the fourth reader. He was 
 born in 1856; died 1908. 
 
 Selection: IV, 230. 
 
 EYES AND NO EYES 
 
 (Barbauld — IV — 52.) A good specimen of the informa- 
 tion literature so popular in a former generation. Who 
 are the speakers? How had the two boys been spending 
 their holiday? What did Robert have to report? Why? 
 State in order all the things that William saw, and the 
 new information he secured in regard to each. What 
 moral did Mr. A. draw from what had happened? (Com- 
 pare with ''The Careful Observer," in fourth reader, p. 
 75.) Heath. An open, uncultivated tract. — Artifice, 
 Trick. — Counterfeit. Pretended. — Turf. Same as peat. 
 Decaying vegetable matter, cut into blocks and dried for 
 fuel. — TipplingWhouses. Drinking-houses. — Franklin. A 
 reference to Benjamin Franklin, whose many practical 
 inventions were due largely to his close observations. 
 
 FAIRIES' SHOPPING, THE 
 
 (Deland — III — 34.) A series of fancies based upon 
 natural facts that most children have a chance to observe. 
 The more clearly they have in mind the condition in the 
 Fall of all the things mentioned, the more easily can 
 
 82 
 
they follow the fancies. A series of lessons based upon 
 the mullein, milkweed, etc., would form a good preparation 
 for reading this poem. When Fall approaches what do 
 the Fairies begin to think about? Tell how they proceed 
 to get ready for winter. What have you observed about 
 each of the things mentioned that account for the use 
 made of it by the Fairies? Why speak of the "mullein's 
 yellow candles"? or, call thistles "surly things"? or, make 
 nightcaps out of snapdragons? What is the feeling with 
 which the F'airies bid good-by to Summer? 
 
 FAIRY STORY, A 
 
 (Sherman — III — 177.) What did the fairy hear? Why 
 does it seem absurd? When did the fairy hear of the 
 water drop again? What had it done in the meantime? 
 Js there anything about the history of the drop of water 
 that reminds you of what happens to human beings? But 
 this is a fairy fancy and the important thing is to go to 
 fairyland with the frost and not to insist too much that 
 fairyland shall come to you. 
 
 FAREWELL TO THE FARM 
 
 (Stevenson — III — 247.) Do you think the children in 
 this poem live in the town or in the country? Give the 
 reasons for your answer. Do you think they have had a 
 good time? Why do they kiss their hands to "every- 
 thing"? What objects do they mention? Why? Why 
 do "the trees and houses smaller grow"? Do you think 
 they will want to come back next summer? (This poem 
 is taken from "The Child's Garden of Verses," a little 
 book that ought to be in every collection for children.) 
 
 FICKETT, M. GRACE 
 
 Author (with Grace M. Stone) of "Everyday Life in 
 the Colonies." 
 
 Selection: IV, 186. 
 
 FIELD, EUGENE 
 
 Born at St. Louis, Missouri, February 3, 1850, was a 
 student at Williams College, at Knox College, Galesburg, 
 111., and in the State University of Missouri, which he 
 
 83 
 
left on becoming of age. After some time spent in 
 traveling he took up the work of journalism, filling 
 various editorial positions until in 1882 he accepted a 
 position on the Chicago Record, then the Morning News, 
 which he retained until his death at Buena Park, Chicago, 
 November 4, 1895. The column which he conducted in 
 the "Record" was called "Sharps and Flats" and into its 
 making went much of his best work. The claim of Fields 
 to long life is the ability he possessed of treating sub- 
 jects of interest to children. So popular is his work in 
 this line that he has been called the "Poet Laureate of 
 the children." His collected works are published by 
 Charles Scribner's Sons, New York City.. A very inter- 
 esting little book about him, entitled "The Eugene Field 
 I Knew," by Francis Wilson, is published by the same 
 house. Selections: II, 40, 112, 157; III, 57, 100. 
 
 FIGHT WITH THE WINDMILLS, THE 
 
 (Cervantes — V — 132.) This selection is made up of 
 the last portion of Chapter VII and the first part of 
 Chapter VIII of the famous story of "Don Quixote." 
 This is one of the world's great books and this particular 
 episode is one of the best known parts of it. The book 
 gets its name from its hero, a Spanish country gentleman 
 who has read so many tales of knightly adventure that 
 his imagination becomes inflamed and with his Squire 
 Sancho Panza he sets out in search of the kind of ad- 
 ventures he has read of. Cervantes declared that he 
 "had no other desire than to render abborred of men the 
 false and absurd stories contained in boo\s of chivalry," 
 and he thoroughly succeeded in his purpose. In his 
 "History of Spanish Literature" George Ticknor gives 
 the following summary of the book: 
 
 "These two (Don Quixote and Sancho Panza) sally 
 forth from their native village in search of adventures, 
 of which the excited imagination of the knight, turning 
 windmills into giants, solitary inns into castles, and galley- 
 slaves into oppressed gentlemen, finds abundance, where- 
 ever he goes; while the Squire translates them all into 
 
 S4 
 
the plain nrose of truth with an admirable s mp he ity, 
 quite unconscious of its own humor, and rendered the 
 more diking by its contrast with the lofty and courteous 
 Sffi and magnificent illusions of the superior pe- 
 onage There could, of course, be but one consisten 
 ermKation to adventures like these The Knight and h 
 esquire suffer a series of ridiculous discomfitures, and are 
 T t brought home, like madmen, to their native village 
 where Cervantes leaves them, with an intimation that 
 the story of their adventures is by no means ended. _ 
 
 What kind of man did Don Quixote have for his squire 
 Did tne fact that this man was "poor of brains have 
 anything to do with it? What inducements were offered 
 What preparations were made for their journey Why 
 dm Don' Quixote have doubt, about taking the as 
 What picture do you have of Sancho as they start? 
 What did they talk about on the way? Narrate tne ad- 
 venture with the windmills. What was the difference m 
 the way the Knight, and his squire regarded them? How 
 did Don Quixote explain the misfortune that happened 
 to him? What did Sancho mean when he suggested that 
 the Knight had "windmills in his head"? Select and 
 read passages that best show the foolishness of the 
 Kni-ht In studying the selection notice especially all 
 the terms and facts referring to Chivalry; such as, squire, 
 the horse, armor, arms, the lady, the fight against odds, 
 part played by fortune, etc. 
 
 Squire. The Knight's attendant-Target. A shield.— 
 Wallet. Knapsack.— Patriarch. Venerable, one who gov- 
 erns by paternal right.-Make shift. Be able.-Infantas. 
 The royal princesses in Spain and Portugal are so- 
 called —Extirpation. Total destruction.— Rozinante. In 
 Tories of chivalry you are likely to find a horse with a 
 romantic name, and Don Quixote must be supplied ike 
 his models. "Rozin" means an ordinary horse. Else- 
 where in the story we learn that this famous steed was 
 all skin and bones. Are these famous steeds you read 
 of usually of that sort?-Briareus. In Greek mythology, 
 a monster with a hundred arms.-Lady Dulcinca. 
 
 85 
 
Knights always fought for their "lady's sake." Dulcinea 
 was not her real name but Don Quixote called her that 
 because he thought it more romantic. (The word dulce 
 means sweet.) — Couching. Throwing the lance into 
 proper position for attack. — Necromancer.. Magician. — ■ 
 Pernicious. Evil. — Shoulder-slipped. — Having the shoul- 
 der-joint dislocated or sprained. 
 
 FINCH, FRANCIS MILES 
 
 Born at Ithaca, New York, June 9, 1827, graduated at 
 Yale, practiced law at Ithaca, was elected member of the 
 Court of Appeals in New York in 1881. He w.as the 
 author of many fugitive poems, the best known of these 
 being "The Blue and the Gray" which appeared in the 
 Atlantic Monthly in 1867 and is given in V, p. 211. He 
 died in 1909. 
 
 FIRST THANKSGIVING, THE 
 
 (Anon. — II — 36.) Is there anything in the story to 
 make you think it was near Thanksgiving time? What 
 things to eat are usually associated with Thanksgiving? 
 In the story Edith's mother told of the first Thanksgiv- 
 ing, who was really responsible for the first plentiful 
 harvest? Why was turkey used for meat at the first 
 Thanksgiving? Why did they go to church before they 
 had their feast? Why was it right that the Indians should 
 be invited? 
 
 FISH I DIDN'T CATCH, THE 
 
 (Whittier — IV — 221.) This selection is made up of 
 about one half of Whittier's article with this name, first 
 published in 1843 an d now included in Vol. I. of his prose 
 works. If a copy of "Snow Bound" is handy, turn to it 
 and read the passage that describes the uncle. It will 
 form a good introduction to the simple wisdom of this 
 story. Why do you suppose the boys like to go fishing 
 with this uncle? Tell the story of the fish that got away. 
 What encouragement did the uncle give? What quality 
 of character must a good fisherman possess? What 
 lesson does the uncle draw from this incident, and how 
 
 86 
 
does Whittier state it in proverb form? Is boasting ever 
 worth while? (The great classic on fishing is Walton's 
 "Complete Angler." Van Dyke's "Little Rivers" will also 
 make good supplementary reading.) 
 
 FITZ-JAMES AND RODERICK DHU 
 
 (Scott — V — 47.) This passage is from "The Lady of the 
 Lake," the best known of Scott's longer poems, which 
 was first published in 1810. The selection comprises lines 
 186-295 of Canto V, and is a part of the introduction to 
 the famous combat between the disguised king and the 
 highland chieftain. Encourage the reading of the entire 
 story. If the main outlines of it are given to the class 
 by the teacher it will help the understanding of this par- 
 ticular passage. 
 
 The opening paragraph is the closing speech in the 
 colloquy between Fitz-James and Roderick. What does 
 Fitz-James say he has promised to do? How does he look 
 forward to the meeting? How is his desire gratified? 
 What was the effect of Roderick's announcement of his 
 identity? Quote the well-known passage in which Fitz- 
 James expresses his defiance? What was Roderick's pur- 
 pose in having his men appear so mysteriously and then 
 vanish again? Do you admire his generosity in keeping 
 his agreement? Why did he not take advantage of the 
 situation? How did Fitz-James feel as they went on 
 through the glen? Does Scott succeed in making the 
 scene stand out with clearness? The incident recorded 
 here is said to have actually happened. At any rate it is 
 the most dramatic moment in the poem. 
 
 Dhu is the Gaelic for "black."— Clan-Alpine. The Scot- 
 tish families were called clans. The word "Alpine" names 
 Roderick's family. — Brand. Sword. — Love-lorn. Suffer- 
 ing from love. — Curlew. A water bird. — Copse. Thicket. 
 — Bonnet. Caps or headgear worn by the Highlanders. — ■ 
 Shingles. Coarse stones. — Bracken. A kind of fern. — 
 Broom. A shrub with long slender branches and yellow 
 flowers. — Plaided. Each Scottish clan wore a plaid of 
 special pattern. — Beck. Gesture. — Verge. Steep side. — 
 
 87 
 
Benledi. A mountain in Scotland about three thousand 
 feet high. — Explain "living side." — Sable. Black. — Osiers. 
 A kind of willow. — Heath (P. 49) is the same as heather, 
 a shrub with purple bloom. — Glaive. Broad sword. — Targe. 
 "A round target of light wood, covered with strong leather 
 and studded with brass or iron, was a necessary part of a 
 highlander's equipment." (Scott.) — Jack. A coat of leather 
 or muslin with iron plates between the folds, or fastened 
 on the surface. — Saxon — Gael. The lowlanders were called 
 Saxons, and the highlanders, Gaels. 
 
 FLAG GOES BY, THE 
 
 A patriotic poem expressing the feeling stirred by the 
 passing of a military parade. What is the picture 
 brought before you by the first two stanzas? Explain 
 "steel-tipped." Explain what is meant by "more than the 
 flag." Why does it move us so much more than a piece 
 of cloth of some other color? The third and fourth and 
 fifth stanzas answer this question. What specific i n- 
 stances are suggested by such terms as "sea fights," 
 "sinking ships," etc.? Why "hats off"? Does the fourth 
 line in the last stanza answer? 
 
 FLAT TAIL, THE BEAVER 
 
 (Eggleston — V — 14.) Tell how the beaver colony 
 selected and built their home. What fine example of co- 
 operation is seen? How did Flat Tail differ from his 
 father? What was the trouble with him? W 7 hat was 
 he left to do? What was his attitude towards advice? 
 What was the result? Why did the other beavers deride 
 Flat Tail? What are the lessons to be learnt from this 
 story? How much of this story is real, and how much is 
 fable? Is it, in other words a beaver story, or a man 
 story? 
 
 FLOWER FOLK, THE 
 
 (Rossetti — IV — 24.) The three cardinal virtues are 
 pictured in the form of three flowers. To what is each 
 likened? Try to determine why these flowers are chosen, 
 each for its special purpose. What point is made of the 
 
 88 
 
fact that the rose is accompanied by the thorn? Com- 
 mit the passage, keeping the image of the flowers before 
 the eye of your mind as you repeat it. Does it agree 
 with the passage, "And now abideth faith, hope and love, 
 but the greatest of these is love." 
 
 FOR AN AUTUMN FESTIVAL 
 
 (Whittier — V — 69.) The first four stanzas of this poem 
 are omitted. It is a song of thanksgiving and a call to 
 higher ideals of living, — ideals in line with the boun- 
 teousriess and optimism of nature. Why is the year 
 called "liberal"? Notice the personification in "laugh"? 
 How has Nature won a "triumph"? What contrast in 
 "bloodless"? Explain the comparison to Ruth in stanza 
 2. This would be a good time to read again the beauti- 
 ful story of "Ruth." What note of humility in stanza 3? 
 How does Nature put to shame our littleness? (Stanza 4.) 
 Consider carefully the meaning of "we shut our eyes," 
 "we murmur," "we choose the shadow." What gifts 
 "compensate for our "rugged soil"? What section of the 
 country did Whittier have in mind here? Explain "sum- 
 mer-wedded." What three questions in stanza 6. Are 
 they really questions? (Remember that an affirmative is 
 sometimes emphasized by this method.) What do the 
 final stanzas urge us to thanksgiving for? What is meant 
 by changing "a rocky soil to gold"? How can "brave 
 and generous lives . . warm a clime with northern ices 
 cold"? 
 
 FORD, SEWELL 
 
 Born in Maine, 1868. A contributor to magazines and 
 the author of "Horses Nine" and "Shorty McCabe." 
 Selection: V, 281. 
 
 FORGET-ME-NOT 
 
 (Anon.— Ill— 178.) Tell the story of how this flower 
 received its name? Does the personification seem to you in 
 keeping with the flower? 
 
 89 
 
FORGING OF BALMUNG, THE 
 
 (Baldwin— IV— 158.) This is a story from the great 
 German Epic called "The Nibelungenlied," or "the song 
 of the Nilbelungs." Siegfried is the hero of this epic. 
 Why was Siegfried sent to Mimer? Notice carefully the 
 two things that Siegfried was to learn; "to work skilfully 
 and to think wisely." Isn't that a good definition of a 
 complete education? How was Siegfried's life here dif- 
 ferent from what it was at his father's court? What was 
 the result of this training? What challenge came to 
 Mimer? Why was he worried about it? What did he do? 
 What did Siegfried's proposal indicate? Why did Mimer 
 allow him to try his skill? What was the result of his 
 first effort? Why was Siegfried not satisfied with it? 
 What was the result of the second test? Why was he not 
 3 r et satisfied with it? What were the results of the third 
 test? Describe the scene of the test for supremacy be- 
 tween Mimer and Amilias. What happened? What may 
 one see now as a result of the trial? Why did Siegfried's 
 father have faith as to the test? What is the great truth 
 that this story expresses? What does Siegfried's work 
 upon the sword suggest to us about the way we should 
 do our work? — Burgundy. An ancient country of western 
 Europe. — Mystic -Runes. Mysterious or obscure sayings 
 expressed by means of runes, the alphabet of the ancient 
 Scandinavians. 
 
 FOUNTAIN, THE 
 
 (Lowell — IV— 74-) The first seven stanzas are devoted 
 to bringing out the nature of the fountain. Note in order 
 all its characteristics. Is there something in the short, 
 quick lines that in a way imitates the movement of the 
 fountain? There is a sort of kaleidoscopic effect about 
 the way in which the images flash before the mind: in 
 sunshine, in moonlight, in starlight, always in restful, 
 happy motion, changeful and constant. Why does the 
 author wish his heart to be like the fountain? (See last 
 stanza.) 
 
 90 
 
FOUR-LEAF CLOVER 
 
 (Higginson — IV — 18.) Describe the place where the 
 clovers are found. Explain the second line. (Recall 
 what you have noticed about cherry blooms.) For what 
 does each leaf stand? What great lesson does the last 
 stanza suggest? Does accomplishment mean anything 
 more than luck, or mere chance, as the word is usually 
 used? Longfellow says 
 
 ''Learn to labor and to wait." 
 Read this poem in connection with "The Flower Folk" 
 on page 24 of the fourth reader. 
 
 FOURTH OF JULY PICNIC, THE 
 
 (Anon. — II — 155.) Why do we celebrate the Fourth of 
 July? What kind of weather is it that time of year? 
 Why do most people celebrate by going picnicking? Tell 
 the various pleasures the children had on this picnic. 
 How could they cook fish in the woods? About what 
 time do you think they got home? 
 
 FOX IN THE WELL, THE 
 
 (Trowbridge — III — 105.) This fable tells a story at 
 least as old as Aesop. What happened to Sir Reynard? 
 (Did you ever see one of those old-fashioned wells with 
 buckets on each end of a rope, which passed over a 
 pulley so that as the filled bucket came up the empty one 
 went down? If not this description will help you im- 
 agine it.) What led Wolf to stop? How did Reynard 
 explain his presence in the well? How did he persuade 
 Wolf to help him? With what result? What traits of 
 character do the animals represent? Are you sorry for 
 Wolf? 
 
 FOX, JOHN, JR. 
 
 A popular American novelist, born in Kentucky in 1863. 
 Educated at Harvard. His work is particularly noted for 
 knowledge of the life and dialect of the mountain country. 
 Among his books may be mentioned, "The Kentuckians," 
 "The Little Shepherd of Kingdom Come," and "The Trail 
 of the Lonesome Pine." 
 
 Selection: V, 304. 
 
 91 
 
FRANKLIN, BENJAMIN 
 
 An American statesman, diplomat, and man of affairs, 
 born at Boston, January 17, 1706. He was apprenticed 
 to his brother to learn the business of printing, quarrelled 
 with him, and shipped to New York, and finally to Phila- 
 delphia, where he arrived practically without friends or 
 money. He soon made a place for himself as a man of 
 business and public spirit. During the Revolution he 
 represented the colonies abroad and finally succeeded in 
 bringing about a treaty with France. His services can 
 not be overestimated. His industry, his great common 
 sense, his fine tolerance, his interest in science, his simple 
 and direct style, his keen sense of humor, — these are 
 some of the qualities that account for his success. He 
 died at Philadelphia, April 17, 1790. Franklin's "Autobi- 
 ography" is a masterpiece of its kind, and it and "Poor 
 Richard's Almanac" are full of the practical, prudent wis- 
 dom so needed by his day. 
 
 Extracts: V, 294. 
 
 FRANKLIN EPIGRAMS 
 
 (Franklin — V — 294.) These epigrams represent a kind 
 of common sense that is embodied in nearly everything 
 that Franklin wrote. They should be committed and 
 thought about. The figurative language, or illustration, 
 is well chosen in each case and makes the meaning con- 
 crete. They belong in general under the head of pru- 
 dential maxims, and admit of immediate and practical 
 application in the ordinary affairs of life. 
 
 FROST, THE 
 
 (Gould — III — 72.) When did the frost come? How 
 did he propose to carry on his work? What did the 
 frost really do to the mountain? to the trees? to the lake? 
 to the windows? What were the spears mentioned in 
 stanza 2? Why is his work on the panes like that of a 
 fairy? Explain "silver sheen." What advantage did he 
 take in regard to the cupboard? What does the word 
 "tchick" express? Did you ever hear a glass of water 
 
 92 
 
when it was freezing? There is nothing in this poem that 
 you can not explain from your own experiences and ob- 
 servations of the frost. In literature the appeal is al- 
 ways to experience, real or imagined, and an effort should 
 always be made to relate what is read to what we already 
 know. 
 
 GEESE AND THE TORTOISE, THE 
 
 (Pilpay — II — 22.) What does a tortoise look like? 
 How does it get about? What advantage did the geese 
 have over the tortoise? What spirit did they show him? 
 What plan did they make for taking him along? What 
 situation made the tortoise forget his part of the bargain? 
 What happened as a consequence? What feeling in his 
 heart caused the disaster? 
 
 GEORGE WASHINGTON 
 
 (Anon. — II — 119.) What river did" George Washington 
 live on? Why was it that the boys made Washington 
 Captain when they played soldier? Was Washington 
 much like the other boys in his youth? Find out who 
 Richard Henry Lee was. Is Washington's letter to his 
 friend what you would expect from the average boy? 
 Who do you think wrote the little poem at the close? 
 GINGERBREAD BOY, THE 
 
 (Anon. — II — 47.) What kind of an old woman was it 
 who made the gingerbread boy? Why did she leave the 
 oven door open? What mistake did the grandson make? 
 What kind of a disposition do you think the gingerbread 
 boy had? Whom did he meet first and what did he say? 
 Whom did he meet next? and so on. Who was the last 
 person he met? How did the fox get the best of the 
 gingerbread boy? What was the gingerbread boy's 
 thoughts as he was being eaten up? Did he know 
 enough to tun away from home? 
 GIVEN, ELLA 
 
 Selections: II, 132; III, 203. 
 
 GLOUCESTER MOORS 
 
 (Moody — V — 328.) "Gloucester Moors" is one of the 
 most significant poems by one of our most significant 
 
 93 
 
living poets. It is a poem of considerable length, only- 
 four stanzas of it being given in the reader. The poem 
 proposes one of the most troublesome and important 
 problems of modern society, and this is only hinted at in 
 the extract. From the first stanza, determine the location 
 of the speaker. What features of the landscape are visible? 
 What time of year is it? of the day? As the speaker looks 
 immediately around him, what does he observe? Read 
 in order the passages describing each object. This scene 
 is on the New England coast; how many of the objects 
 mentioned have you ever seen? What lines in the last 
 stanza express the pleasure of the poet in the scene? 
 What contrast is indicated by the questions of the final 
 lines? — Poetic quality may often be studied to advantage 
 in "the fine phrase," as someone has put it. Take these 
 (and others you may select) and think them over until 
 you catch something of their picturing and suggestive 
 quality: "the land dips down," "the moors stretch free," 
 "marching sun and talking sea," "moiling street." State 
 in prose, and notice what is lost: 
 
 "And the racing winds that wheel and flee 
 On the flying heels of June." 
 
 The following lines have been pointed out as the most 
 
 poetic in the poem. Do you like them? 
 
 "That green-gold flash was a vireo, 
 
 And yonder flame where the marsh-flags grow 
 
 Was a scarlet tanager." 
 
 GOD SAVE THE FLAG 
 
 (Holmes — V — 312.) This poem was written in 1865, 
 at the close of the Civil War, and that fact will explain 
 some of the passages in it. Like most of the other pa- 
 triotic passages selected for reading books it is to be 
 used for strengthening the feeling of reverence for the 
 flag as a symbol of what the nation at heart stands for. 
 The first stanza speaks of its triumphant issue from con- 
 flicts that threatened its existence. Is it in worse shape 
 for the ordeal? The first line suggests why it is not. 
 Baal is the symbol of evil. What is the attitude of his 
 
 94 
 
followers toward it? What explains this attitude? (See 
 fourth line of stanza 2.) Explain the work of justice and 
 mercy as stated in the third stanza. What is the com- 
 parison suggested in stanza 4? What faith is expressed 
 in the last two lines of the poem? 
 
 GOETHE, JOHANN WOLFGANG VON 
 
 Born at Frankfort-on-the-Main, August 28, 1749; died 
 at Weimar, March 22, 1832. He is the greatest of German 
 authors. His masterpiece is the tragedy of "Faust," a 
 great dramatic poem in two parts, which occupied his 
 thought during a period of about sixty years. Among 
 his prose works "Wilhelm Meister" is perhaps the great- 
 est. Lewes' "Life of Goethe" is an interesting account 
 of his career. 
 
 Selection: V, 197. 
 
 GOING FOR THE DOCTOR 
 
 (Sewell — V — 318.) This selection is from "Black 
 Beauty" one of the finest stories about an animal ever 
 written. Black Beauty tells the story himself. What 
 were the circumstances under which Beauty started for 
 this ride? Did he do his best? Why? What does the 
 reference to his grandfather show about his blood? Why 
 did he have to carry the doctor back? — Newmarket. A 
 famous racing track in England. — This brief extract gives 
 some notion of the plain, effective narrative in this book. 
 It can be had in very cheap editions and every child 
 should read it. 
 
 GOLDSMITH, OLIVER 
 
 Born at Pallas, Ireland, November 10, 1728; graduated 
 at Trinity College, Dublin; was refused holy orders; 
 studied law; wasted his means in gaming; traveled in 
 western Europe; became a hack-writer in London, where 
 he died April, 1774. He is best known by his two poems, 
 "The Traveler," and "The Deserted Village," and by his 
 only novel, "The Vicar of Wakefield." The life by Wash- 
 ington Irving is a very satisfactory one, although Forster's 
 is generally regarded as the most accurate. 
 
 Selections: V, 172, 173- 
 
 95 
 
GOOD PLAY, A 
 
 (Stevenson — II — 60.) Do the stairs seem a very good 
 place for ship-building? What were the materials used? 
 What provisions were taken? What would a sailor need 
 with a saw and nails? What need of water? Why did 
 the sailor say that an apple and a cake were enough to 
 go sailing on till tea? Did they really sail for days and 
 days? Why are you not surprised that Tom fell out and 
 hurt his knee? 
 
 GORDY, WILBUR FISK 
 
 An American educator, now superintendent of schools, 
 Springfield, Mass. Was born in Maryland, June 1854; 
 educated at Wesleyan University. Author of "A School 
 History of the United States," "American Heroes and 
 Leaders," and other works of an educational character. 
 
 Selection: IV, 100. 
 
 GOULD, HANNAH FLAGG 
 
 Born at Lancaster, Mass., 1789. Her family moved to 
 Newburyport, Mass., 1800, and here she lived until her 
 death in 1865. She had some fame as a poet in the first 
 half of the nineteenth century, but one or two fugitive 
 pieces are about all that are now read. 
 
 Selection: III, 72. 
 
 GRADY, HENRY WOODFIN 
 
 American journalist and orator. He was born at 
 Athens, Ga., 1851, and educated at the University of 
 Georgia. In 1880 he became one of the owners and edi- 
 bors of "The Atlanta Constitution" and his connection 
 with that paper continued until his death. He was much 
 in demand as a speaker for public occasions, and was 
 regarded as the mouthpiece of the New South. One of 
 his most noted speeches was that before the New England 
 Society at New York, in 1886, on "The New South." In 
 the prime of his life, he was stricken down, and died at 
 Atlanta, December 2.3, 1889. 
 
 Selections: V, 150, 201, 207. 
 
 96 
 
GREEN PODS, THE 
 
 (Anon.— II— 44.) How many questions did the children 
 ask Mrs. West about the green pods? Which did she 
 answer? Which did she not answer? What do you 
 'hink was her reason for not answering the two ques- 
 tions? What did the children think the pods were? 
 Cocoon, the envelope in which certain insects are en- 
 closed in the chrysalis state.— Why did Mrs. West have 
 some of them hung near the window and some near the 
 heater? What time of year do you think it was? What 
 finally happened to the pods? Do you know what the 
 little white tufts are for? 
 
 GREENWOOD TREE, THE 
 
 (Shakespeare— IV— 120.) A song from "As You Like 
 It." In the fifth scene of Act II, Amiens, Jaques and 
 other companions of the banished Duke are out in the 
 forest. Amiens sings the first stanza and Jaques. the 
 melancholy philosopher asks for more. The whole com- 
 pany sing the second stanza. The song is an expression 
 of the free and happy life of the woodland as contrasted 
 with the life of ambition, the conventional life. 
 
 GRIMM, JAKOB AND WILHELM 
 
 Philologists and archaeologists. The first born at 
 Hanau, Germany, January 4, 1785, and died in Berlin, 
 September 20, 1863. Jacob is the author of the famous 
 Grimm's Law or classification of the interchange of con- 
 sonants in Teutonic words and their cognates. Wilhelm, 
 born at Hanau, February 24, 1786, and died in Berlin, 
 December 16, 1859. Together the brothers edited the 
 well-known collection of German fairy and popular tales 
 which they brought together from all parts of the 
 country, getting them mainly at first hand from the lips 
 of the peasants. This is perhaps the most famous col- 
 lection of such tales ever made. 
 
 Adapted selections: II, 21, 123, 140. 
 
 GRINNELL, GEORGE BIRD 
 
 Born in Brooklyn, September 20, 1849- Educated at 
 Yale. Journalist in New York City. An authority on 
 
 97 
 
Ethnology, and author of many books dealing with In- 
 dian life and out-door life in general. Among these are 
 "Pawnee Hero Stories and Folk Tales," "The Story of 
 the Indian," "The Indians of today." 
 Selection: IV, ii/- 
 
 HALE, EDWARD EVERETT 
 
 Born in Boston, Mass., April 3, 1823. Graduated at 
 Harvard, taught school, entered the ministry, and was 
 well known all over the country as a lecturer, author and 
 public spirited man. His writings are voluminous, largely 
 in the nature of contributions to magazines and newspa- 
 pers. His "Man Without a Country" is a piece of fiction 
 and it was through this that his name became a house- 
 hold word. "My Double, and How he Undid Me," and 
 "Ten Times One is Ten," are still widely read. The 
 latter was responsible for the formation of many organi- 
 zations, called Lend-a-Hand Clubs, Look-up Legions, 
 King's Daughters, etc. Dr. Hale was chaplain of the 
 United States Senate for several years preceding his 
 death in 1909. His "Memories of a Hundred Years," 
 which appeared in 1902, is a study of his times. 
 
 Selection: V, 13. 
 
 HANDFUL OF CLAY, A 
 
 (Van Dyke— III— 160.) This beautiful little fable is 
 published in Dr. Van Dyke's book called "The Blue 
 Flower." The version given in the reader is very much 
 simplified and adapted, mainly by v abridgment, but it pre- 
 serves in the main the ideas of the story as found in the 
 book referred to. The fable, or apologue, is one of the 
 oldest and commonest methods of impressing truths, 
 which, however important, would seem commonplace if 
 merely stated in prosaic form. What characteristics did 
 the clay possess? What ideals did it entertain? What 
 contrasts existed between it and the trees? the flowers? 
 the river? How did it content itself? State in order 
 what happened to it? How did it feel in regard to each 
 step in the process? Why did it object to being a com- 
 mon flower-pot? Describe the last scene in its history. 
 
 98 
 
How had its dream come true? Can you tell why the 
 Easter celebration was a fitting time for the lesson to be 
 impressed upon it? Try to state in your own way what 
 this story of the clay means when applied to people. 
 Read "A Song" by Browning on page 131 of the fourth 
 reader, and compare its truth with that taught here. 
 
 HAPPY LIFE, THE 
 
 (Eliot — V — 300.) This extract from one of Dr. Eliot's 
 addresses is particularly stimulating, but you need to put 
 on your "thinking cap" and keep it on all the way 
 through. He was thinking through a very important line 
 of thought, — the problem of satisfaction, or happiness, in 
 life. His words and illustrations are very carefully 
 chosen, and there is progress, or movement, in the de- 
 velopment of his theme. Take each paragraph and study 
 it until you can state in a clear form the main affirmation 
 it makes. What are the three sources of satisfaction for 
 the working man? What objection is urged to many 
 forms of intellectual labor? What is the answer to this 
 objection? With respect to the satisfaction to be de- 
 rived from them, how do various occupations differ from 
 each other? What is the contrast between the Oriental 
 and the Teutonic doctrine of labor? What point was 
 made by Dr. Holmes? How is this form of satisfaction 
 limited? How may books help us overcome this lim- 
 itation? What does Dr. Eliot think will be the re- 
 sult if his ideas on reading are carried out? How does 
 he answer the objection that a great deal of leisure is 
 necessary for effective reading? What great books and 
 authors does he mention? Can you name a noted work 
 by each author? Select and read a few of the sentences 
 that seem to you especially fine. 
 
 (In connection with this selection it is interesting to 
 note that Dr. Eliot has chosen and is editing such a col- 
 lection of books as he recommends, to be known as The 
 Harvard Classics. About one-half the titles have been 
 announced, and the whole collection is to occupy five 
 feet of shelf room.) 
 
 99 
 
HARDING, SAMUEL BANNISTER 
 
 Professor of History in Indiana University. Born in 
 Indianapolis, 1866; graduated at Indiana University, 1890; 
 received degree of Ph. D. at Harvard, 1898. Author of 
 "Essentials of Mediaeval and Modern History" and other 
 important historical works. Author, in collaboration with 
 his wife, Caroline H., of "Greek Gods, Heroes and Men," 
 and "The City of the Seven Hills." 
 
 Selection: V, 79. 
 
 HARRIS, JOEL CHANDLER 
 
 Born at Eatonton, Georgia, in 1848. Learned the print- 
 er's trade, studied law and practiced for awhile, joined 
 the staff of "The Atlanta Constitution" in 1876 and was 
 connected with this paper until his death in 1908. In 1880 
 he published "Uncle Remus, His Songs and His Sayings," 
 thus beginning the series of books in which he collected 
 the negro folk tales and popular stories of the South. 
 These books have become classics, and their author was 
 affectionately called by the name of his creation, Uncle 
 Remus. "Nights with Uncle Remus" and "Little Mister 
 Thimblefinger" are other well known works. Uncle 
 Remus was one of the shyest and most delightful of men, 
 and his death called forth universal expressions of sorrow. 
 
 Selection: III, 50. 
 
 HARRISON, BENJAMIN 
 
 The twenty-third President of the United States. Born 
 at North Bend, Ohio, August 20, 1833. Graduated at 
 Miami University, studied law and achieved reputation in 
 his profession. Was prominent in the Civil War, rising 
 to the rank of Brigadier-General. He was an important 
 figure in Indiana politics, becoming a United States Sen- 
 ator in 1881. In 1888 he defeated Grover Cleveland for 
 the Presidency, but in 1892 was defeated by Cleveland 
 for the same office. Returned to the practice of law after 
 his retirement from office. Died at Indianapolis, March 
 13, 1901. He was the author of "This Country of Ours" 
 and "Views of an Ex-President." 
 
 Selection: V, 309. 
 
 100 
 
HAWKINS, WILLIS B. 
 
 Selection: V, 259. 
 
 HAWTHORNE, NATHANIEL 
 
 Born at Salem, Mass., July 4, 1804; graduated from 
 Bowdoin College in 1826. Amongst his classmates were 
 Longfellow and Franklin Pierce, with the latter of whom 
 an attachment was formed which lasted until his death. 
 Hawthorne's early work was not especially popular and 
 did not bring him in very large returns. He held a small 
 position under Bancroft as collector of customs at New 
 York, and later joined the Brook Farm Association; was 
 appointed surveyor of the port at Salem in 1846 and in 
 1853 was made consul at Liverpool, England, by Presi- 
 dent Pierce. "The Scarlet Letter" was published in 1850; 
 "The House of the Seven Gables" in 1851; "Blithedale 
 Romance" in 1852; "Marble Faun" in i860. Fie died at 
 Plymouth, New Hampshire, May 19, 1864. His authorized 
 works are published in thirteen volumes, including his 
 note books, by Houghton, Mifflin & Company, Boston, 
 Mass. The authoritative biography entitled "Nathaniel 
 Hawthorne and His Wife," by his son, Julian Hawthorne, 
 is published by the same house in two volumes. One of 
 the most helpful works for a beginning student of Haw- 
 thorne is a little book by his son-in-law, George Parsons 
 Lathrop, entitled "The Study of Hawthorne." The best 
 short life of Hawthorne is that by George E. Woodberry. 
 
 Selections: IV, 78, 122. 
 
 HEADLEY, JOEL TYLER 
 
 Born in Walton, N. Y.. t8t3. Educated for the min- 
 istry, but his health failing, he retired, and devoted him- 
 self to journalism and literary work. Fie wrote a great 
 number of historical works, the best known being "Na- 
 poleon and His Marshals." Hedied in 1897. 
 
 Selection: V, 325. 
 
 HEMANS, FELICIA DOROTHEA 
 
 Born at Liverpool, England, September 25, 1794, a poet 
 of considerable merit. The best known of her poems is 
 
 101 
 
perhaps "The Landing of the Pilgrim Fathers in New 
 England," which has always been a favorite selection in 
 collections for reading. Died near Dublin, May 12, 1835. 
 Selection: V, 07. 
 
 HENDRICKS, THOMAS ANDREWS 
 
 Born near Zanesville, 0., in 1819. Educated at Hanover 
 College, studied and practiced law. He was prominent in 
 Indiana politics; member of Congress (1851-1855), United 
 States Senator (1863-1869), Governor of Indiana (1873- 
 1877), candidate for Vice-President of the United States 
 (1876), elected Vice-President in 1884. He died at In- 
 dianapolis, November 25, 1885. He was a speaker of con- 
 siderable power on political and patriotic themes. 
 
 Selection: V, 30. 
 
 HIAWATHA'S CHILDHOOD 
 
 (Longfellow — IV — 175.) This selection comprises about 
 one-third of the third canto of "Hiawatha," called "Hia- 
 watha's Childhood." This poem is another one of the 
 books that every child should read entire, and it can be 
 given to him almost any time. "Hiawatha" was published 
 in the latter part of 1855, and had an unexampled success. 
 It was criticised harshly, its originality questioned, and its 
 form parodied on every hand. Its popularity with the 
 reading public, however, did not diminish, and it is a 
 common thing now to find critics who believe it is Long- 
 fellow's masterpiece. It is poetry of the elemental variety, 
 the measure borrowed from the Finnish Epic, "Kalevala," 
 -and the subject-matter taken from Schoolcraft and other 
 sources of Indian legends. Its simplicity, closeness to 
 nature, and the feeling that you are quite in touch with 
 the heart of things, give it peculiar power. The measure 
 is the trochaic tetrameter, that is, each verse is made up 
 of four two-syllabled measures, the accent falling on the 
 first syllable in each measure. It makes much use of 
 repetitions. Read the lines describing the location of the 
 wigwam of Nokomis. The steps in Hiawatha's education 
 are especially suggestive. Read each passage carefully, 
 
 102 
 
trying to imagine yourself there in the forest, looking at 
 things in the same inquiring way that Hiawatha did. 
 What did the Indian think about the comet? the northern 
 lights? the milky way? What interested Hiawatha on 
 Summer evenings? Repeat the song to the firefly. What 
 was the story about the moon? What stories have you 
 heard about what is in the moon? What about the rain- 
 bow? What were the birds called? Why? What were 
 the animals called? Do you think Old Nokomis knew 
 much about how to bring up a child? 
 
 HIGGINSON, ELLA 
 
 A writer, on the staff of the Seattle Sunday Times. 
 She is the author of several volumes of poems and short 
 stories. 
 
 Selection: IV, 18. 
 
 HIGH AND LOW 
 
 (Tabb — III — 174.) A quaint little parable whose mean- 
 ing is easy to grasp. Did you ever know people who were 
 "stuck up" and thought themselves better than other 
 folks who lived in the same street? Why was the slipper 
 looked down on? Are you glad the slipper was chosen 
 for the ball? Why? Do you see the little "conceit" in 
 the title which makes it possible of literal application to 
 the three things mentioned? 
 
 HIGH COURT OF INQUIRY, THE 
 
 (Holland — V — 23.) This extract is taken from the fifth 
 chapter of Holland's "Arthur Bonnicastle," the most pop- 
 ular of his stories. Arthur had been placed in the school 
 which was called "The Bird's Nest," since it was pre- 
 sided over by Mr. hm\ Mrs. Bird. Arthur had some bad 
 faults and the. method of dealing with these at the school 
 shows that some of the ideas of self-government which 
 we hear much of at the present day are not at all new 
 ideas. What was the charge brought against Arthur? 
 Describe the scene. What big stories had Arthur told' 
 Notice the formality of the judge. What did the boys 
 do to make Arthur feel how ridiculous he was? How did 
 
 103 
 
Mr. Bird explain Arthur's tendency to tell big tales? Did 
 he think the best method had been taken for curing him? 
 Do you think ridicule is a good method to use in curing 
 one of his faults? Did it work in this case? H-ow did 
 Arthur feel over it when the scene was finished? (You 
 should read the rest of the book and find out if Arthur 
 lived up to his good resolutions at the close.) 
 
 HOGG, JAMES 
 
 One of the greatest of the peasant poets of Scotland, 
 after Burns. He was born in 1770, of a poor family, and 
 had slight education. The most valuable thing in his 
 equipment was the great store of folk stories about fairies, 
 giants, etc., which he had from his mother. "The Queen's 
 Wake" is, perhaps, his most imaginative poem. While 
 popular and well known in his day he is now remembered 
 mainly by a few stray pieces, particularly songs, such as, 
 ''Flora Macdonald's Farewell" and "When the Kye Comes 
 Hame." He is generally referred to as the "Ettrick Shep- 
 herd," from the parish in which he was born and where 
 he is buried. He died November 21, 1835. 
 
 Selection: III, 186. 
 
 HOLLAND, JOSIAH GILBERT 
 
 Born at Belchertown, Mass., July 24, 1819. Studied 
 medicine, practiced for a short time, became a contributor 
 to the "Knickerbocker Magazine," and later in 1849 be- 
 came one of the editors of the "Springfield Republican." 
 Sold his interest in this publication in 1866, and in 1870 
 projected "Scribner's Magazine," now "The Century," of 
 which he remained editor until his death in New York, 
 October 12, 1881. He was unusually popular as a writer 
 and lecturer on social topics, and his poetry and fiction 
 have been widely read. "Arthur Bonnicastle" and "Bit- 
 ter Sweet" may be named as representative works. 
 
 Selections: IV, 194; V, 23. 
 
 HOLMES, OLIVER WENDELL 
 
 Born at Cambridge, Mass., August 29, 1809, graduated 
 at Harvard, in the class of 1829; gave up law for the study 
 of medicine; was professor of anatomy and physiology at 
 
 104 
 
Dartmouth; and from 1847 to 1882 was professor of anat- 
 omy at the Medical School of Harvard. While he wrote 
 much along the line of his profession he is known mainly 
 as a writer of brilliant verse, and as the author of the 
 famous "Breakfast Table" series. Died at Boston, Mass., 
 October 7, 1894. His collected works are published by 
 Houghton, Mifflin & Co., Boston, Mass., in thirteen 
 volumes. The authorized biography is in two volumes by 
 John T. Morse, Jr., published by the same house. 
 Selections: V, 130, 312. 
 
 HOMES OF THE PILGRIMS 
 
 (Anon. — III — 179.) Tell about the landing of the Pil- 
 grims. How did they build their houses? What did they 
 do for window glass? for latches? for furniture? for car- 
 pets? for clothes? Why was the fireplace so important? 
 State the ways in which their houses differed from ours. 
 How did they get along the first winter? 
 
 HOME THOUGHTS, FROM THE SEA 
 
 (Browning — V — 310.) To understand this poem it is 
 important first to get the scene clearly in mmd. Take 
 your map of Spain and locate off the Southern coast the 
 points mentioned. The speaker is on a ship which has 
 just passed through the Straits of Gibraltar on the way 
 to England, it is just at sunset, and he can gaze at once 
 upon the scenes of several of the great naval victories 
 that made England what she is to-day. As he thinks of 
 the great services rendered by these English heroes to 
 their country, to him as an Englishman, the thought and 
 the sublimity of the scene, cause him to turn in a solemn 
 mood and ask, "How can I help England"? And as he 
 turns toward the east in this patriotic and religious mood 
 he sees Jupiter, the evening star, over Africa. Your map 
 will make all this clear. Now with these suggestions in 
 mind turn to the poem again, put yourself in the author's 
 place, see the glory of the picture as he saw it, and try 
 to realize how an Englishman would feel about it. (Turn 
 to Southey s account of Nelson's death and read that 
 again.) 
 
 105 
 
HOMES OF THE PEOPLE, THE 
 
 (Grady — V — 150.) This selection is taken from one of 
 the most impressive and poetic of Mr. Grady's speeches 
 delivered at Elberton, Georgia, in June, 1889, called "The 
 Farmer and the Cities." The passage differs much in 
 form from the version that stands in the authorized 
 memorial volume of Mr. Grady's "Life, Writings and 
 Speeches" prepared under the editorship of Joel Chandler 
 Harris. The changes are evidently for the purpose of 
 simplifying the language and making it more like an es- 
 say than would be likely in a speech delivered with strong 
 feeling to an appreciative multitude. But the essential 
 and sane point that the orator was driving home is pre- 
 served. It is a good illustration of how a speaker carries 
 the feelings of his hearers step by step toward a climax 
 so that they seem to see so clearly that no contradiction 
 would be possible. 
 
 With what experience does the passage open? Why 
 does the observer's "heart beat quick"? Upon what does 
 he think the liberties of the country rest? What experi- 
 ence is recorded in the remaining paragraphs? Why do 
 you suppose he goes into such detail on this second ex- 
 perience? Describe the surroundings of the home. Read 
 the expressions by which he points out their beauty and 
 general attractiveness. What qualities did he find within? 
 What special objects did he notice and what did each 
 suggest to him? What members of the family are men- 
 tioned? Notice exactly what is said of each. Does the 
 speaker make you feel that they are just what they ought 
 to be? Read the beautiful language about each, making 
 sure that you understand all that is said. Describe the 
 scene with which the passage closes. What effect did it 
 all have on the visitor? How does he change his gen- 
 eralization about the foundation of the nation's great- 
 ness? (Just before the passage quoted Mr. Grady had 
 said: "But the government, no matter what it does, does 
 not do all that is needed, nor the most; that is conceded, 
 for all true reform must begin with the people at their 
 homes." And just after the selection given in the reader 
 
 106 
 
he said: "The homes of the people; let us keep them pure 
 and independent, and all will be well with the Republic.") 
 Ark of the covenant. The government. A scriptural 
 reference to the chest in which the covenant, or tables of 
 the law were kept. (See Exodus xxv, 10, and passages 
 you can locate with concordance.) — Simple annals. Mr. 
 Grady said this Bible "held the simple annals," referring 
 to the family record found in the big family Bible. The 
 word "beholding" changes the meaning, or at any rate 
 obscures it. The expression "simple annals" is found in 
 Gray's "Elegy": 
 
 "The short and simple annals of the poor." 
 Lien on crops. Reference to a custom of pledging the 
 growing crop for indebtedness. — Knighthood. Knight- 
 hood was conferred by touching the candidate on the 
 shculder with the flat of a sword. Can you quote the 
 fifth commandment? — Select and explain some of the fine 
 figurative expressions, such as "Hps, trembling with the 
 rich music of her heart," "the buckler of her husband," 
 "Children, . . . seeking as truant birds, etc." These 
 and other expressions full of strong emotional quality 
 may be studied as a means of finding out how an orator 
 produces the effects he wishes to produce. 
 
 HONEST POVERTY 
 
 (Burns — V — 108.) (The following very fine study of 
 this poem is by Professor Thomas H. Briggs, of the 
 Eastern Illinois State Normal, Charleston, 111., and is 
 from No. 198 of Parker's "Penny Classics," published by 
 C. M. Parker, Taylorville, 111. It is used here by per- 
 mission of both Professor Briggs and Mr. Parker. Teach- 
 ers would do well to write to Mr. Parker for a list of 
 these very inexpensive supplementary readings.) The 
 Roman numerals refer to the stanzas. 
 
 It is well to become familiar with the meaning of the 
 words in the glossary before you read the poem, for the 
 lines are to express, not conceal, the thought. If you 
 know any person of Scotch birth, be sure to ask him to 
 read the poem aloud to you. The wonderful music of the 
 
 107 
 
words is often lost by the reading of those who pretend 
 to render dialect and who only mispronounce the words. 
 But pronunciation is not all of dialect: there are peculiari- 
 ties of phrasing and of tone that one who is not a native 
 of the country rarely is able to get. But if you cannot 
 learn from a native Scot how Burns' countrymen read the 
 poem, you will not fail to get considerable of the spirit 
 and music by pronouncing the words much as they are 
 spelled. 
 
 Do you like poems or stories written in dialect? Re- 
 call a number, such as Rilej^'s verse and the Uncle Remus 
 stories. Do they put you into a mood similar to that 
 which you feel when talking to a person who does not 
 speak English well? Tell of the mood as well as you can. 
 Are you more critical of a poem written in dialect or of 
 one in pure English? more sympathic with it? more in- 
 terested in what the poet is saying or in how he says it? 
 etc. 
 
 Read the poem through, omitting the refrain, the last 
 four verses of each stanza. Try to tell what you have 
 lost. Now, read through, omitting the phrase "for a' 
 that," making whatever changes are necessary to preserve 
 the sense. Is there added loss? Do men ordinarily repeat 
 words when very calm or when full of emotion? Does 
 the repetition in this case add emphasis to the statements? 
 Does it add anything else? 
 
 What kind of man do you think would make such state- 
 ments? Tell if you think he is excitable, or cool-headed, 
 sound in his judgments, prejudiced, sincere, rich, etc. 
 Some people get such a good idea of the speaker from 
 the poem that they actually feel that they know how he 
 looks. Do you? 
 
 Under what circumstances do you imagine the hero 
 speaking? It is told, wholly without truth, I believe, that 
 Burns composed and recited this poem one evening at 
 Edinburgh. He had been invited out to a party, so the 
 stcry goes, by a nobleman; but instead of being asked 
 into supper with the guests, he was kept in the kitchen 
 until they were through eating and then called in to en- 
 
 10S 
 
tertain them. This he did by reciting the poem given 
 above. Although there is no good foundation for the 
 story, it tells you some person's idea of how he should 
 like to have had the poem composed and given. Com- 
 pare this and the stories told by the members of the class 
 and see which pleases you most. 
 
 I—I-4 "The four lines, the sense of which is often 
 misunderstood, may be thus interpreted: Is there anyone 
 who hangs his head in shame at his poverty? If there 
 is such a poor creature, we pass him by as a coward 
 slave."— Wallace: "Life of Burns," IV, 186. 
 
 Mention some of the causes of poverty. Which should 
 be causes of shame likewise? Notice the kind of poverty 
 that Burns speaks of. Is that a just cause for shame? 
 Does he well name the man who would be ashamed of it. 
 Explain. Is line 7 always true? more often in America 
 or in other countries? What is the result when it is true? 
 The last line is a cheering one to remember; the man him- 
 self, whether rich or poor, high or lowly in rank, is "the 
 
 gowd." .. 
 
 II Nearly all poets have praised the simple lite as 
 contrasted with that of silk and wine. Wordsworth's fine 
 phrase is "plain living and high thinking;" the first by it- 
 self, remember, does not necessarily create a "king o' 
 men." Discuss the last two lines with some fulness, try- 
 ing to see how they are indeed true, in practice as well as 
 
 in theory. 
 
 III. What a fine tone of just contempt is expressed 
 here! The first two lines give a very vivid picture of the 
 "birkie." What words especially indicate the speaker's 
 contempt for him? 
 
 IV. Knights, marquises, and dukes are created by the 
 king, or by the prince, under certain restrictions, pre- 
 sumably as rewards for conspicuous merit, though often 
 it has been far from so. Why should a man crave to be 
 what any prince can make him and yet often fail to make 
 himself that far higher thing, what no prince has the 
 power to make, an honest man? 
 
 109 
 
V. Note what characteristic of man Burns has empha- 
 sized in each stanza. If every man had all of them, would 
 the ideal spoken for in this stanza be near? What are 
 some of the things that prevent all men from being 
 brothers, to all other men the world over? Do you think 
 that would be an ideal condition? What are some of the 
 changes that such a condition would cause? 
 
 HOOD, THOMAS 
 
 Born in London, May 23, 1799. He was both a humorist 
 and a serious poet. Much of his humor depends upon 
 puns and verbal oddities, but at his best he takes high 
 rank in both the fields mentioned. Perhaps his best 
 comic poem is "Miss Kilmansegg," while among his 
 greatest poems of pathos are "The Song of the Shirt,'' and 
 "The Bridge of Sighs." In many poems he combines 
 pathos and humor in a curiously effective and whimsical 
 way. His life was a tragic fight with ill health and pov- 
 erty. During his last illness he was given a pension by 
 the Crown of 100 pounds. He died on May 3, 1845. 
 
 Selection: IT, 84. 
 
 HOOK, STELLA LOUISE 
 
 Selection: III, 198. 
 
 HOUSEKEEPER, THE 
 
 (Lamb — V — 250.) This is not really by Lamb, but is 
 a translation from a Latin poem by Vincent Bourne. 
 William Cowper, as well as Lamb, admired Bourne's 
 poems greatly and translated many of them. Bourne was 
 an English poet, born in 1695, died in 1847. Educated at 
 Cambridge, and was a teacher in Westminster school. 
 His volume of Latin poems passed through several 'edi- 
 tions. 
 
 What advantages are there in being able to carry your 
 house around with you? After reading the poem care- 
 fully, consider the significance of the title. Is the word 
 "housekeeper" used in our sense? What touches of hu- 
 mor in the account? — Sanctuary. Place of refuge. — Quar- 
 
 110 
 
ter Day. In England the days that begin in each quar- 
 ter of the year are those on which landlords and tenants 
 begin and end their leases and on which rents are paid. — 
 Chattels. Personal belongings, in this case referring to 
 the furnishings procured from the upholsterer. 
 
 HOW CINCINNATUS SAVED ROME 
 
 A dictatqr .has absolute authority, and one is appointed 
 in times of the very greatest national peril. What was 
 there about Cincinnatus that made his selection seem 
 noteworthy? What contrast between the office to which 
 he was called and his occupation at the time? What was 
 "this great peril" referred to? (The answer is in the third 
 paragraph.) Give the details of the announcement to 
 him, and of his trip to the city. Why were the people 
 "fearing much"? What quality had Tarquinius for the 
 position to which lie was appointed? Does this appoint- 
 ment give you more confidence in Cincinnatus? State 
 clearly all the steps he took for relieving the beseiged 
 consul. Describe his plans for the battle. How did they 
 work out? Explain the method, and the significance, of 
 passing under the yoke. How was Cincinnatus honored 
 for his success? For how long had he been appointed? 
 Why did he resign so soon? Is it common to find men 
 giving up great positions like this, because there is no 
 more to do? How does it make you feel toward Cin- 
 cinnatus? Do you see, from reading this, why the poet 
 Byron called George Washington "the Cincinnatus of the 
 West"? (See page 57 of the fifth reader.) — Consul. One 
 of the two chief magistrates of the ancient Roman re- 
 public. — Aequians. A people of ancient Italy who were 
 in constant hostility with Rome. — Tiber. The river on 
 which Rome is situated. — Lictors. Attendants who bore 
 the "fasces" before such officers as had a right to such 
 ceremony. Fasces is the Latin name for a bundle of rods, 
 tied together with a red strap, and enclosing an ax, with its 
 head outside. The number of lictors depended on the 
 rank of the magistrate, a dictator being entitled to twenty- 
 four. They marched in single file, cleared the way, and 
 
 111 
 
warned passers-by to make proper obeisance. They al- 
 ways accompanied the official in public. — Master of the 
 Horse. An official appointed by the dictator to act as his 
 chief subordinate. — Field of Mars. A large plain adjoin- 
 ing ancient Rome, used for great public assembles. — 
 Standard-bearers. Those who bore the military standards 
 carried them in the front line on march. Does this ac- 
 count for for what the zealous soldiers cried out to them? 
 — Mount Algidus. A range of mountains where the main 
 town of the Aequians was located. — Legion. One of the 
 main sub-divisions of the Roman army. — Battle was on 
 either side of them. After studying the account care- 
 fully, make a diagram showing the approximate positions 
 of the forces. — Under the yoke. The translation of the 
 Latin expression, sub jugum. Do you see how "sub- 
 jugate" came to have the meaning it does? — Triumph. 
 Such spectacular celebrations of any great achievement 
 have always been common. Witness Dewey's return after 
 the Battle of Manila. 
 
 HOW I DISCOVERED THE NORTH POLE 
 
 (Church — III — in.) Where do seals live? What are 
 their habits? Where do you find sea-gulls? Are seals 
 ever caught for training purposes? Are they intelligent? 
 Tell what happened to the seal after the men caught him. 
 For what does the seal use his flippers? How did the 
 seal know which way to swim to reach the sea and the 
 northern water? Does a seal have to get air occasionally 
 or is it like a fish? Does the seal's story of the polar bear 
 sound true? What do you think a "gingerbernooster" 
 looks like? Explain how it gave the tiger his stripes. 
 What use did the seal make of his banjo in his northern 
 trip? Tell what he found at the north pole? What is 
 the joke in the seal story? 
 
 HOWITT, WILLIAM 
 
 An English author, born in 1792 at Heanor, Derbyshire; 
 died at Rome, 1879. He was a very prolific writer, but 
 most of his work was of the sort that every generation 
 
 112 
 
needs to do over for itself. A few titles will show its 
 kind: "Popular History of Priestcraft," "Rural Life of 
 England," "Rural and Domestic Life in Germany." Some 
 of his simpler poems of natural scenery are still found 
 in many collections. 
 Selection: IV, 90. 
 
 HOW THEY SLEEP 
 
 (Anon. — II — 93.) Tell how the different animals sleep? 
 Do they make any preparation for it? What, in all the 
 list, has most preparation made for going to bed? What 
 has most care while sleeping? What do you think a bird 
 would dream about? What would a mouse dream? What 
 a cat? Go through the list and draw on your imagina- 
 tion for the dreams they would dream? 
 
 HUGHES, THOMAS 
 
 Born at Newbury, England, October 20, 1823, educated 
 at Oxford and became prominent in the legal profession. 
 He wrote several famous books for boys, the best known 
 being "Tom Brown's Schooldays" and "Tom Brown at 
 Oxford." Died at Brighton, England, May 22, 1896. 
 
 Selection: IV, 141. 
 
 HUGO, VICTOR MARIE 
 
 Born in 1802, one of the most distinguished French 
 writers of the present century. Poetry, fiction, the drama, 
 and criticism, were all produced by him. His prominence 
 in political matters brought him into great public notice, 
 and these strong political views, as well as his social 
 views, colored many of his productions. The best known 
 of his works is "Les Miserables," from which the account 
 of the Battle of Waterloo in the fifth reader is taken 
 Died in Paris in 1885. A brief biography may be found 
 in the Great Writers series. 
 
 Selection: V, 251. 
 
 HUNT, FREEMAN 
 Selection: V, 20. 
 
 112 
 
HUNT, JAMES HENR ^H 
 
 Born in Southgate, Engird, October 19, 1784, studied 
 law, occupied a position in the War Office for a short time 
 and then entered journalism. A great portion of his 
 work was of no lasting interest and the most of it is al- 
 ready forgotten. Of his longer productions the most 
 famous is "The Story of Rimini." This poem may be 
 found in No. 24 of the Modern Classics, published by 
 Houghton, Mifflin & Co., Boston, Mass. Died at Putney, 
 England, August 28, 1859. 
 
 Selection: IV, 165. 
 
 HURDIS, JAMES 
 
 An English poet, born in 1763. Educated at Oxford, 
 afterwards minister, and professor of poetry at Oxford. 
 His best known works are "The Village Curate" and "The 
 Tragedy of Sir Thomas More." He died in 1801. 
 
 Selection: IV, 216. 
 
 IF I LIVE TILL SUNDOWN 
 
 (Grady^-V — 207.) This passage is taken from Mr. 
 Grady's address delivered at the State Fair at Dallas, 
 Texas, October 26, 1887, on "The South and Her Prob- 
 lems." It is one of the closing passages in that magnifi- 
 cent oration, to illustrate the point that the New South 
 needs for the settlement of her problems the heritage 
 left by the Old South "in manliness and courage," which 
 is worth more than "broad and rich acres." Then fol- 
 lows the section used in the reader a presentation of the 
 manliness and courage referred to. And then follows this 
 interpretation: 
 
 "The world is a battle-field strewn with the wrecks of 
 government and institutions, of theories and of faiths that 
 have gone down in the ravages of years. On this field 
 lies the South, sown with her problems. Upon the field 
 swings the lanterns of God. Amid the carnage walks the 
 Great Physician. Over the South he bends. 'If ye but 
 live until to-morrow's sundown ye shall endure, my coun- 
 trymen.' " Let us for her sake turn our faces to the East 
 
 114 
 
and watch as the soldier watched for the coming sun. 
 Let us staunch her wounds and hold steadfast. The sun 
 mounts the skies. As it descends to us, minister to her 
 and stand constant at her side for the sake of our chil- 
 dren, and of generations unborn that shall suffer if she 
 fails. And when the sun has gone down and the day of 
 her probation has ended, and the stars have rallied her 
 heart, the lanterns shall be swung over the field and the 
 Great Physician shall lead her up, from trouble into con- 
 tent, from suffering into peace, from death to life." 
 
 Try to image clearly the scene and the condition of the 
 wounded soldier. Try to put yourself in his place and 
 imagine how you would feel. Why did he watch so 
 anxiously for the approach of the surgeons? What do 
 you suppose he thought when the surgeon shook his head 
 and passed on? What hope did he hold out on his return? 
 Why did the soldier hold so tenaciously to this hope? 
 Hew did he strengthen himself against despair? What 
 were the "stronger stimulants" by which he held on to 
 the thread of life left him? Read the expression of each of 
 these, trying to put into the reading the full force of the 
 beautiful language. Are you glad such a man and sol- 
 dier "was taken from death to life"? What inspiration 
 can such a character furnish to us? The comparison of 
 life to a battle-field is a very common one: What parallels 
 between the two are suggested by this passage? 
 IKTOMI AND THE COYOTE 
 
 (Zitkala Sa— IV— 3S-) Iktomi is the spider fairy of 
 Indian legend. He is shrewd and ingenious generally, but 
 he seems for once to have met his match in the coyote. 
 This is an easy story to dramatise and children will find 
 much pleasure in imitating Iktomi's approach to the coy- 
 ote, and other features of the story. What made him 
 think the coyote was dead? Tell about the trip to his 
 wigwam, or tepee. Describe a "blue wink." Why did 
 the coyote wink this way? Tell about the roasting. How 
 did Iktomi feel about what happened? What lesson did 
 the coyote suggest before he ran away? Can you quote a 
 common proverb which expresses the same idea? 
 
 115 
 
I LIVE FOR THOSE WHO LOVE ME 
 
 (Banks — III — 157.) A stanza from the only poem by 
 this author that is remembered. It is a fine and simple 
 expression of service as an ideal, a good stanza to com- 
 mit and carry around in your mind as something to guide 
 you, — as a touchstone of life. What are the things the 
 speaker says he lives for? What one line sums it all up? 
 How can one live "for the heavens"? Consider carefully 
 what the word "heavens" means in this line. The sixth 
 and seventh lines especially need thought. 
 
 INCIDENT OF THE FRENCH CAMP 
 
 (Browning — 1842 — V — 7.) Ratisbon is an ancient, city 
 of Bavaria on the right bank of the Danube; also called 
 Regensberg. It has endured no less than seventeen 
 sieges since the tenth century, the last of which took 
 place in 1809, when Napoleon stormed the town. It was 
 at this time that the incident given took place. Mrs. Orr 
 says: "The story is true; but its actual hero was a man." 
 Cooke, in his "Browning Guide Book" says that no infor- 
 mation other than that in the poem has been found. The 
 incident is quite dramatic illustrating as it does the tradi- 
 tion of a loyalty so intense that no greater honor is 
 courted by the soldier than the opportunity of giving his 
 life for Napoleon's success. Hence the touch of pride in 
 the boy in the final stanza when for a moment Napoleon 
 forgets the great victory at sight of the boy's wounds. 
 But we have in this touch a new view of Napoleon as 
 sympathetic, touched by the dauntless courage and force 
 of will displayed by the youth. — What do you infer from 
 line 1 as to the speaker? Describe Napoleon as he ap- 
 peared on the storming day. (If the teacher can have a 
 picture representing Napoleon on the field of battle, it 
 will help the imagination here.) What thoughts were 
 probably going through his mind? While in this mood 
 what did he see? In what condition was the messenger? 
 Was it easy to notice this? Why not? What message did 
 he bear to Napoleon? What made the flash of triumph 
 die out of Napoleon's eye? What comparison is used 
 
 116 
 
here? What did he say to the boy? What was the 
 answer? How do you account for the fact that the boy 
 smiles? Do you admire him? Do you see anything at- 
 tractive about Napoleon? — (It may be necessary to ex- 
 pand a good many of the passages in this poem in order 
 to make their meaning apparent. This grows out of 
 Browning's habit of condensing as much as possible, and 
 taking as many things for granted as possible.) — Prone. 
 Bent downward. — Oppressive. Heavy. — Lannes. One of 
 Napoleon's most celebrated marshals. — Flag-bird. The 
 eagle was used as the symbol of France. The figure of 
 the bird with outspread vans (wings) was on the top of 
 each of the standards. — Notice the comparison in the last 
 stanza. 
 
 ("This poem serves to introduce the form into which 
 Browning throws so many of his narratives, the dramatic 
 monologue. The speaker and the scene must be vividly 
 imagined. In this case we may suppose a little group' of 
 French veterans smoking their pipes over a glass of wine 
 at an inn, and recalling incidents in their glorious cam- 
 paigning with the Little General. The speaker is stand- 
 ing, and begins in familiar story-telling fashion: 'You 
 know we French stormed Ratisbon'; and, continuing, he 
 insensibly assumes dramatically, Napoleon's customary at- 
 titude, 'legs wide, arms locked behind.' The poem, then, 
 is essentially one for free dramatic interpretation; it 
 needs careful handling, especially in the fourth and fifth 
 stanzas — the last desperate effort of the dying lad to de- 
 liver his message — and the transition to the quieter, 
 slower, tenderer manner of the concluding stanzas." — 
 Chubb's "Select Poems of Browning.") 
 
 INDIAN CHARACTER 
 
 (Parkman — V — 308.) What three comparisons are used 
 to illustrate different types of racial characters? What 
 traits of the Indian make the comparison to a rock an 
 appropriate one? What features of his nature particu- 
 larly interest us? — Immutability — Unchangeableness. — Ir- 
 reclaimable. Not capable of being civilized. — Rapacious. 
 
 117 
 
Of grasping disposition — (Read some of Cooper's "Leath- 
 er-Stocking Tales," especially "The Last of the Mohicans" 
 for what is generally regarded as the greatest picture of 
 Indian nature in our literature.) 
 
 INDIANA 
 
 (Bolton — IV — 201.) This poem is a distinct appeal to 
 local patriotism. It is a common trait of human beings to 
 believe that their own country, their own locality, is 
 about the best place in the world. And it is probably very 
 fortunate that it is so. In this poem you have a pretty 
 complete catalogue of Indiana values and the poem might 
 well furnish a suggestive list of topics for the study of 
 Indiana life. For instance, in stanza 4, the contrast be- 
 tween the past and present in methods of trasportation 
 would suggest a wide line of study and investigation. But 
 it is quite likely that the thing desired is that we join 
 the great chorus of voices shouting the praises of the old 
 Hoosier State. — Italia. Italy. — Helvetia. Germany. — Gal- 
 lia. France. — Hispania. Spain. — Arcana. The plural of 
 the word "arcanum." The expression, "the great arcanum," 
 meant the supposed art of transmuting metals, of chang- 
 ing the baser metals into gold. Why is this word ap- 
 plicable to labor's processes? — Diana. The goddess of the 
 moon; hence, substituted for "moon." — Savanna.. Wide 
 plains. — Hammerfest to Samarcand. The first is one of 
 the northernmost points of Europe while the latter is 
 far in the east. The expression indicates the cosmopoli- 
 tan character of the population as does the next line. 
 — Mystic manna. The feeding of the Children of Israel 
 on the way out of Egypt. See the sixteenth chapter of 
 Exodus. — Canny. A word of many meanings, — probably 
 "handy" here. — Heritage. Evidently "liberty." — Hosanna. 
 An exclamation of praise. — Notice particularly the words 
 that rhyme with Indiana. How many did the author need 
 to find? Is it easy to find such words? Are any of the 
 rhymes poor ones? Pronounce the rhyming words and 
 notice the effect upon your ear. Does the rhyme sound 
 well? In perfect rhymes the rhyming vowel sound and the 
 
 118 
 
following consonant sounds (if any) are the same, while 
 the preceding consonant sounds are different. 
 
 INGELOW, JEAN 
 
 Born in Boston, Lincolnshire, England, in 1820. She was 
 averse to publicity and guarded the details of her life 
 from the public. Her first book was published without the 
 author's name. It was very popular and a succession of 
 volumes in verse and poetry followed. "Off the Skell- 
 ing's" is, probably, her best novel. "Mopsa the Fairy" 
 has held its own as a child's favorite to the present day. 
 Some of her poems, such as "Seven Times" and "High 
 Tide on the Coast of Lincolnshire" have been popular 
 favorites ever since their first appearance. Jean Ingelow 
 died in 1897. 
 
 Selection: IV, 156. 
 
 INGRATITUDE 
 
 (Shakespeare— IV— 96.) This lyric is sung by Amiens, 
 a follower of the banished duke, in "As You Like It." It 
 is found in the last scene of the second act. Shakespeare 
 seemed to feel with especial force the monstrousness of 
 ingratitude, as many references in his plays will show. 
 In "King Lear" (Act I, Scene 4) we find the old king 
 saying: 
 
 "Ingrattitude, thou marble-hearted fiend, 
 More hideous when thou show'st thee in a child 
 Than the sea-monster!" 
 And a little later he expresses the wish that Goneril 
 
 " — may feel 
 
 How sharper than a serpent's tooth it is 
 
 To have a thankless child!" 
 The words "tooth" and "bite" in the € lyric under con- 
 sideration indicate that Shakespeare was personifying in- 
 gratitude in the same general way. What is addressed at 
 the beginning of each stanza? What are they told to do? 
 Throughout "As You Like It" emphasis is laid on the 
 point that the only drawback to the woodland life is the 
 winter season (''Here feel we but the penalty of Adam, 
 
 119 
 
the season's difference.") What comparisons are used 
 as the basis of each stanza? In what way do these com- 
 parisons show the evil nature of ingratitude? Compare 
 the third lines of each stanza. Do they mean the same 
 thing? Why is it customary to speak of cold as biting? 
 What form of ingratitude does the poem suggest as 
 especially bad? — So nigh. So near a vital spot.— Warp. 
 In Shakespeare's time this word was used often instead 
 of "weave," and has special reference to the fine network 
 appearance of water when it is just beginning to freeze. 
 (The chorus of the song, omitted in the reader, runs 
 thus: 
 
 "Heigh-ho! sing, heigh-ho! unto the green holly: 
 Most friendship is feigning, most loving mere folly: 
 Then, heigh-ho, the holly! 
 This life is most jolly." 
 
 IN SCHOOL-DAYS 
 
 (Whittier— III— 208.) 
 
 I. 
 
 Let us look for a moment at the general plan and struc- 
 ture of the poem. The poet is in a reminiscent reverie. 
 His mind has wandered back to the past. An experience 
 that had evidently made a deep impression on the boy's 
 mind lingers still with the man. The dilapidated school- 
 house is still in existence and certain facts about it help 
 his mind to reconstruct the story of the past. But he 
 has lived many years since the incident related — forty 
 years since the heroine's death. These years of hard labor 
 and struggle have served to impress a certain great fact 
 upon his mind; viz, that the world is supremely selfish. 
 But an opposite idea is expressed by the incident which 
 memory brings up from the past, and his thought rests 
 upon it with tender feeling and regret that more of the 
 children in the world's great spelling class are not ac- 
 tuated by the same sympathy for their defeated com- 
 rades. What, then, are the general divisions of the poem, 
 or its framework? First, a group of three stanzas dealing 
 with the old school-house; second, a group of six stanzas 
 
 120 
 
relating the main incident; third, a group of two stanzas 
 connecting the past with the present and making an ap- 
 plication of the truth expressed. 
 
 II. 
 
 What does the first group of stanzas do? What picture 
 do they present? Describe the old school-house just as 
 you see it. What other picture is brought before the mind 
 by line 2 of stanza I? What two facts are brought out 
 about the beggar? (Ragged, sitting by the road in the 
 sun.) In what respect is the school-house like the beg- 
 gar? What right had the poet to call the school-house 
 a beggar? (The idea of the metaphor may be developed 
 here, or the children may recognize the expression as 
 such if they have had any explanation of figurative lan- 
 guage heretofore. It is quite a question whether any- 
 thing is gained by burdening the mind of the student, 
 even in advanced classes, with the names of any save, 
 possibly, the more common figures. If the pupil feels 
 clearly the force of the comparisons all is gained that is 
 necessary for an understanding of the poem.) What are 
 "raps official?" Does the fact that the master's desk is 
 "deep scarred" by them suggest anything about the nature 
 of the school? Are there any other items in the descrip- 
 tion that tell you anything about the school? Whittier's 
 mind was evidently interpreting each item that arose be- 
 fore it and these facts mentioned about the dilapidated 
 building are indissolubly connected with the pupils who 
 were associated with his youth there. Could he have told 
 from the worn door sill alone what he did about the way 
 the pupils came in and went out? 
 
 Simple questions and directions like the above may be 
 multiplied or decreased in number at pleasure, in order 
 to stimulate the pupil to grasp the picture and enter more 
 fully into the spirit of the poem. This losing of self in 
 the new condition which the poet is bringing up before 
 the mind is the end and the test of good teaching in the 
 subject of reading. Consequently, any question that as- 
 sists in naturally and quickly translating the reader into 
 
 121 
 
the enchanted realm of the poet is a good question. Don't 
 make the mistake of supposing that a system of questions 
 may be tabulated that will serve for every selection 
 studied. Remember that each piece of literature is an 
 organism possessing a unity of its own; and that a study 
 of it must display this unity and impress us with its 
 organic qualities. 
 
 III. 
 
 What change in your picture takes place with stanza 
 4? (Time, season, new items.) Persons introduced. De- 
 scribe the little girl; the little boy. What state of mind 
 is the little girl in? (Line 2 of stanza 5.) The little boy? 
 (Line 4 of stanza 6.) What is each doing? (Stanza 7.) 
 What do the actions mentioned in stanza 7 tell you about 
 the children? What is the secret of the whole situation as 
 told in stanza 9? Be sure that the pupils see how stanza 
 9 gives the explanation of her grieving, her delay, his cap 
 pulled low, his pride and shame, the restlessness of stanza 
 7, the caressing hand and the trembling voice. Was the 
 little girl's confession a difficult one to make? How did 
 her action differ from what most children would do after 
 "turning down" another? This second group of stanzas is 
 the one that presents in concrete form the poet's meaning. 
 The introductory and concluding groups serve to lead up 
 to the story in the one instance, and to make the appli- 
 cation in the other. 
 
 IV. 
 
 No questions can be formulated that will bring out the 
 full pathos of the retrospect of stanza 10. A full apprecia- 
 tion will come only with a fuller knowledge » of life than 
 the child possesses and it may fitly be left .until that time. 
 "That sweet child-face" which is the embodiment of the 
 love (the sympathy, the unselfishness) that nullifies the 
 natural exultation of triumph (selfishness) is still a motive 
 force in the poet's life although 
 
 the grasses on her grave 
 Have forty years been growing! 
 
 What analogy is suggested in line 1 of stanza 11? In 
 what sense is life like a school? Why say "hard" school? 
 
 122 
 
What fact has the poet's experience in this school im- 
 pressed upon his mind? What improvement does the 
 poem suggest in the relation of human beings to each 
 other? VVhittier was a preacher as well as a poet, but his 
 preaching is of such fine quality that we do not mind be- 
 ing preached at. Try to state in your own language the 
 meaning of this poem, and show what some of the results 
 would be if the people lived the ideal there set forth. 
 
 V. 
 
 It is valuable sometimes for the teacher to formulate 
 
 his work on a poem in order that the eye may take in 
 
 its plan. It enables him to plan his exercises with more 
 
 defmiteness. The following scheme is given for what it 
 
 is worth. It explains itself. 
 
 Stanza. I. Introduction. 
 
 i The Old School- Location, surrounded by sumachs 
 
 house. and blackberry vines. Scarred 
 
 desk, warping floor, battered seats, 
 
 carved initial. Frescos, worn sill. 
 
 II. Development. 
 
 Theme (motive, central thought) : 
 Love (unselfishness) in triumph. 
 Evening scene years ago. 
 5 The Incident: 
 A little girl ex- 
 presses sorrow 
 for her triumph 
 
 because of love LIumiliated boy. 
 for the one de- 
 feated. Both hesitate. 
 
 8 She determines to speak. 
 
 9 Her confession and apology. 
 
 III. Conclusion. 
 
 What memory shows. — Her 
 
 death. 
 
 What life has taught. 
 
 io Retrospect 
 
 and 
 II Reflection. 
 
 123 
 
VI. 
 
 In the preceding I have endeavored to emphasize the 
 fact that the end of all reading is the bringing of the 
 mind of the reader into intimate touch with the thoughts 
 and feelings of the author as he has expressed these in 
 permanent forms by means of language. Any kind of ex- 
 ercise or drill which stimulates the mind of the child to 
 grasp with more clearness and with a wider comprehen- 
 sion the thought of the author is a good one. It should be 
 noted here that it is not the business of the teacher to 
 spend the recitation period elaborating the thought of the 
 poem and explaining it to the class. It is the business of 
 the teacher to devote himself to stimulating the mind of 
 the pupil so that it, of its own free activity, may grasp 
 with the least waste of energy the thought and feeling of 
 the poem. 
 IN THE ORCHARD 
 
 (Sherman — IV — 238.) What is the real picture pre- 
 sented? What is the fanciful comparison in the poet's 
 mind? Point out all the fanciful parallels between the 
 two. Which fancies please you most? Read the lines 
 that bring them out. (Adelina Patti (born 1843) was the 
 most popular singer of the last half of the nineteenth 
 century. She is still living, in retirement, at Craig-y-Nos 
 Castle in South Wales. Why does the poet select her for 
 his comparison rather than some less known singer?) 
 IN TRUST 
 
 (Dodge — II — 107.) Why are we always glad to wel- 
 come a new year? Where does a New Year come from? 
 Can we buy ,a year or beg one from anybody? Think 
 what a year would be like, if you were forced to spend 
 every moment of it on yourself? Why should the years 
 be better all the time and each fuller of service than the 
 one before? In what sense does God merely lend us the 
 year? 
 
 IRENE THE IDLE 
 
 (Escott-Inman— III— 123.) A very plain moral tale, 
 bringing out a lesson of such common need that no child 
 
 124 
 
will have trouble in seeing its application to his own case. 
 Where was Irene taken by the fairy? What instructions 
 were given her? Notice that the instructions, while in 
 prose arrangement, are really in rhyme. Write them so 
 that they look like poetry. What was the first fault that 
 showed itself in Irene? What trait came out in connection 
 with the dishes? What is the moral stated in the clock's 
 song? Tell the story of Part II. How did Irene's faults 
 make trouble for her? What lesson do the minutes em- 
 phasize in their chorus? What was the final result of 
 her fairy experience? Do you think it would be easier and 
 pleasanter to learn this lesson through watching Irene 
 than to find it necessary through actual work in the world? 
 Do you know of anybody who ought to have the ring 
 that Irene did not need any longer? 
 
 IRVING, WASHINGTON 
 
 Born in New York City, April 13, 1783, studied law but 
 was never interested in its practice and early gave him- 
 self up to literature. He first attained great prominence 
 by the publication of "Knickerbocker's History of New 
 York" in 1809. From that time on his successive works 
 were received with great popular favor. Irving was a 
 friend of Scott's and spent a number of years abroad, 
 mainly in England and in Spain where he gathered the ma- 
 terial for his extended writings on Spanish legendary and 
 historical subjects. Among his most readable books may 
 be mentioned the "Sketch Book," "Bracebridge Hall" and 
 "The Alhambra." His last work was the "Life of Wash- 
 ington" in five volumes completed just previous to his 
 death. During the latter portion of his life he lived at 
 Sunnyside near Tarrytown on the Hudson. Died No- 
 vember 28, 1859. The authoritative editions of Irving's 
 works are published by G. P. Putnam's Sons, New York, 
 although most of them are out of copyright. "Life and 
 Letters" in three volumes by his nephew, Pierre M. Irv- 
 ing, by the same house, and Life by Charles Dudley 
 Warner in American Men of Letters series. Selection: 
 V, 330. 
 
 125 
 
ITINERANT PIONEER PREACHER, AN 
 
 (Thompson — V — 202.) This selection is good for bring- 
 ing. clearly before the pupil's mind some of the conditions 
 of pioneer life. Describe the traveler's outfit. If any- 
 thing mentioned is not understood, have the children ask 
 some older person and in that way annotate the passage. 
 Perhaps some have seen the old-fashioned saddle-bags, or 
 the rifle, or the implements for making the fire. Boys, 
 who can find a piece of punk in the country, will enjoy 
 trying to start a fire by the method described. By find- 
 ing how difficult it is in dry weather, they can understand 
 Elder Thompson's difficulties. Tell of his experience with 
 the Indians. What traits of character in the Elder and in 
 the Indians are brought out by this experience? 
 
 "IT IS A BEAUTEOUS EVENING, CALM AND 
 FREE." 
 
 (Wordsworth — V — 263.) This is one of Wordsworth's 
 finest sonnets, and one of the most popular. — What scene 
 is in the poet's eye as he writes? Study it until, in imag- 
 ination, you can stand in the presence of this same 
 scene. What makes him compare the evening to a nun? 
 What is the "eternal motion" of line 7? Notice all the 
 words referring to the spirit of the evening. What feeling 
 does Wordsworth have in its presence? Does he make 
 the scene appeal to you? The last six lines evidently 
 refer to his sister Dorothy. What characteristics of her 
 nature do you find brought out? Read the story of 
 Lazarus and the rich man in the 16th Chapter of Luke, 
 beginning with the 19th verse, for the meaning of the 12th 
 line. Remember that great poetry is generally concerned 
 with bringing about significant states of feeling through 
 the appeal made by suggestive imagery. In this sonnet 
 the mood }s essentially religious. The picture of nature 
 is so presented that the result is like worshiping in some 
 magnificent cathedral. 
 
 JACKAL AND THE CAMEL, THE 
 
 (Anon. — III — 9.) This is a familiar Hindoo legend. 
 What showed the friendliness of the jackal and the 
 
 126 
 
camel? How did the meaness in the jackal's nature show 
 itself? How did his explanation of his action still further 
 show his bad qualities? How did the camel get even? 
 Was he justified in what he did? Do you suppose the 
 jackal learned anything from his experience? 
 
 JACKSON, HELEN HUNT 
 
 Born at Amherst, Mass., October 18, 1831, resided in 
 the East until 1873, when she went to Colorado for the 
 benefit of her health, married Mr. W. S. Jackson there and 
 spent the remainder of her life mainly in that State. She 
 died in San Francisco, August 12, 1885. Her best known 
 books are "Romona," and "A Century of Dishonor," both 
 dealing with the treatment of the Indians by the govern- 
 ment of the United States, the first named book being in 
 the form of a novel. She also wrote delicate bits of verse 
 and several books for children. Selection: V, 32. 
 
 JEFFERSON'S TEN RULES 
 
 (Jefferson — III — 15.) Try to think of some specific il- 
 lustration for each of these rules. Which ones strike you 
 as being especially practical? How could you spend your 
 money before you had earned it? What is the meaning 
 of the figurative expression in the ninth? What is the 
 point to counting when angry? Do you think many people 
 need the seventh rule? State that rule in a more familiar 
 form. You can do it in two words. 
 
 JEFFERSON, THOMAS 
 
 Born April 2, 1743, at Chadwell, Va.; graduated at Wil- 
 liam and Mary College; admitted to the bar; member of 
 the House of Burgesses; member of the Continental Con- 
 gress; chairman of the committe to draft the Declaration 
 of Independence; Governor of Virginia; Minister to 
 France; Secretary of State under Washington; President 
 of the United States from 1801 to 1809; founded the Uni- 
 versity of Virginia in 1819; died at Monticello, Va., July 
 4, 1826. (John Adams died on the same day.) "Life" in 
 the American Statesmen series. Selection: IV, 15. 
 
 127 
 
JEWETT, SARAH ORNE 
 
 Bom in South Berwick, Maine, in 1849. She wrote a 
 large number of stories, generally short stories, dealing 
 with New England life, and her work is especially marked 
 by the sympathetic portrayal of the gentler sides of New 
 England character. Of her many volumes may be men- 
 tioned "Deephaven," "A Country Doctor," "The King of 
 Folly Island, and other People." She died in 1909. 
 
 Selection: V, 52. 
 
 JONATHAN'S FRIENDSHIP 
 
 (Bible — V — 238.) This is a part of the 20th chapter of 
 I Samuel. It shows the marvelous affection between 
 David and Jonathan. The envy in the heart of King Saul 
 is a source of danger to David and it is in respect to his 
 safety that we have the conversation in the text. First 
 there is the covenant of friendship made between them. 
 Explain how Jonathan plans to let David know of Saul's 
 attitude toward him. There was no sacrificial feast at the 
 new moon. Ezel, means "that showeth the away." — What 
 did Saul refer to when he said David was unclean and 
 therefore did not come to meat? What excuse did Jona- 
 than make for David? What did he bring upon his head 
 by his loyalty to David? 
 
 JONSON, BEN 
 
 One of the greatest of the Elizabethan dramatists. The 
 date of his birth is in doubt, but is usually given as 1573. 
 He seems to have made some reputation as a scholar, as 
 both universities gave him the degree of M. A. For a 
 time he was with the English army in the Low Coun- 
 tries, then returning to England seems to have taken up 
 writing for the stage about 1595. Among his best known 
 plays are the comedies, "Every Man in His Humor," 
 "Volpone," "Epicoene, or the Silent Woman," "The Al- 
 chemist," and the tragedies "Sejanus" and "Catiline." As 
 compared with Shakespeare's plays, Jonson's are formal 
 and pedantic and lack the sane outlook upon life found 
 in the former. Classic ideals dominated his work. He 
 
 128 
 
died August 5, 1673, and his tombstone in Westminister 
 Abbey bears the inscription. "O rare Ben Jonson." 
 Selection: V, 234. 
 
 JORDAN, DAVID STARR 
 
 Born at Gainesville, New York, January 19, 1851. Gradu- 
 ated at Cornell University, and later while connected with 
 the Fish Commission began under Agassiz those studies 
 that have made him one of the greatest authorities on 
 fishes in the world. Much of his life has been spent in 
 connection with commissions and public work in this field. 
 In 1885 he became president of Indiana University, leaving 
 in 1891 to become the first president of Leland Stanford 
 Junior University, a position which he still holds. In 
 addition to many scientific works Dr. Jordan has published 
 several ethical addresses that have awakened wide in- 
 terest, such as, '"Voice of the Scholar," "The Call of the 
 Twentieth Century," "The Human Harvest." He has 
 written verse of no mean quality and a very successful 
 juvenile called "The Book of Knight and Barbara." 
 
 Selection: IV, 1. 
 
 JO'S SACRIFICE 
 
 (Alcott — V — 70.) One of the dramatic passages in Miss 
 Alco'tt's "Little Women." What did the telegram to Mrs. 
 March tell them? Can you tell by reading the selection 
 whether they were very well-to-do or not? What was the 
 sacrifice Jo made? What justification of her act did Jo 
 make? Relate the story told by Jo about her hair. What 
 sympathetic person did she find at the barber's? How 
 was this sympathy shown? Why did Jo cry after going 
 to bed? Does the passage end hopefully or otherwise? 
 
 JUST A LITTLE 
 
 (Anon. — III — 187.) Draw upon the child's experience in 
 planting grains and flower seeds for an understanding of 
 the thought in this little poem. What child has not dug 
 up a part of its garden to see what the seeds are doing and 
 why it takes them so long to grow? What does a seed 
 need besides darkness in order to grow? Where is the 
 
 129 
 
little plant before it comes out of the ground? Can you 
 hurry the growth of a plant? Can you help a little 
 chicken to come out of the egg-shell? What are you apt 
 to do to the plant and the chicken if you try to hurry 
 beyond Nature's plan? 
 
 JUST YOU AND I 
 
 (Anon. — III — 230.) This poem is so simply put that it 
 needs very little elucidation. There is just one thought 
 running through it and that is. that kindness and good 
 cheer are contagious. You can illustrate to the child the 
 idea of contagion by the diseases of childhood. Then give 
 him the suggestion that goodness and happiness are also 
 "catching." When one is sulky and cross, the whole 
 world seems in the same humor. When we radiate sun- 
 shine and kindness, people catch and reflect these moods 
 back to us. 
 
 KEARY, ANNA MARIA, AND ELIZA 
 
 Daughters of an Irish clergyman. Anna wrote several 
 novels of Irish life, by which she was best known. The 
 two collaborated on some books for children, of which 
 the folowing were the most popular: "The Heroes of 
 Asgard and the Giants of Jotunheim; or, the Week and 
 its Story," and "Little Wanderlin, and Other Fairy Tales." 
 
 Selection: III, 217. 
 
 KEATS, JOHN 
 
 Born in London, October 29, 1795. Published "Endy- 
 mion" in 1818, was a writer of exquisite beauty and 
 finished taste, and left considerable in the way of frag- 
 mentary work which indicates that he would have achieved 
 greater prominence had he lived. He died in Rome. 
 February 23, 1821. Life by Sidney Colvin in English Men 
 of Letters series. Selection: V, 77. 
 
 KEEPING STORE 
 
 (Butts — II — 46.) Do you know how the milk-weed gets 
 its name? What is the white down for, in the life of the 
 plant? Do you know what the word aster means? Why 
 
 130 
 
docs golden rod seem a good name for that plant? What 
 part of the pine tree are the pine needles? What are 
 they used for? Where does cobweb thread come from? 
 Bachelor's button, a small flower resembling a button. — 
 Why do hollyhocks make good caps for dolls? Would 
 you like to clerk in this kind of a store? Why? What 
 time of year do you think it must be? 
 
 KELLER, HELEN ADAMS 
 
 Born at Tuscumbia, Alabama, in 1880. An attack of 
 scarlet fever at the age of nineteen months left her with- 
 out the senses of sight and hearing. When eight years 
 old her education was undertaken by Miss Anna Sullivan, 
 and Miss Keller has become remarkable for her intel- 
 lectual attainments, including the power of speech. She 
 graduated from Radcliffe College, Boston. Her life is 
 recorded in the autobiography called "The Story of My 
 Life." 
 
 Selection: IV, 204. 
 
 KEY, FRANCIS SCOTT 
 
 Born in Maryland. August 9, 1780. He was educated at 
 St. John's College, Annapolis, Md., studied law and prac- 
 ticed first in Frederick, Md., and afterward in Washing- 
 ton. During the British attack on Baltimore in 1814 he 
 went to the British fleet under a flag of truce and was de- 
 tailed there while the bombardment of Fort Mctlenry 
 was in progress. There he composed "The Star-Spangled 
 Banner" based upon his experience, and it immediately 
 became the most popular of our patriotic songs. He 
 wrote other poems, but his fame rests on this one alone. 
 He died in Washington, January 11, 1843. 
 
 Selection: IV, 243. 
 
 KING AND THE SPIDER, THE 
 
 (Anon. — II — 42.) Is fighting hard work? Is it surpris- 
 ing that Robert Bruce was discouraged after fighting six 
 battles to no purpose? He was king of Scotland and was 
 fighting against the English. Was weaving a web just 
 
 131 
 
as hard for the spider as fighting a battle was for 
 Robert Bruce? Plow did the little spider give him cour- 
 age? 
 
 KIPLING, (JOSEPH) RUDYARD 
 
 Born in Bombay. India, December 30, 1865. His father 
 was a teacher of art in India. Kipling was educated in 
 England and returning to India engaged in journalism. 
 He contributed much of his best early work to the papers 
 with which he was connected. He had trouble at first to 
 find a publisher in England and the United States. When 
 he succeded in 1890 his work achieved an .enormous suc- 
 cess and he has since been, probably, the most widely 
 read author in the language. From 1892 to 1896 he lived 
 in the United States, but has since spent most of his time 
 in England. His work possesses tremendous vigor, he is 
 a born story-teller, and has the power of "the fine phrase." 
 In poetry and in prose, particularly the short story, he 
 stands first among the writers of his day. Some of his 
 work has already achieved the rank of the classic. Among 
 such titles may be mentioned, "The "Man Who Would be 
 King," "The Drums of the Fore and Aft," "The Brush- 
 wood Boy," "The Recessional," "The White Man's Bur- 
 den." Of his books that are especially for young folks 
 may be mentioned the two volumes of "The Jungle 
 Books," "Captains Courageous," and "Just-so Stories." 
 Much of his early work may be had in cheap editions, 
 while complete editions may be had from his authorized 
 publishers, Doubleday, Page and Co., of New York City. 
 Selection: V. 365. 
 
 KITTYKIN AND HER PART IN THE WAR 
 
 (Page— IV— 5.) What was the part that Kittykin 
 played in the war? Do you suppose that the soldiers 
 from the two opposing armies would have joined together 
 if nothing was concerned except a scared kitten in a tree? 
 Tell the story of what happened as fully as you can. 
 What do the terms "Johnny" and "Yank" mean? Notice 
 that Evelyn had a "mammy" and a "mamma": Explain. 
 
 132 
 
What was there humorous about the situation at the 
 close? Does this story suggest the presence in the world 
 of any force stronger than that which produces war? — 
 Trap-ball. By means of a spring balls are thrown into 
 the air for practice in marksmanship. 
 
 KROUT, MARY HANNAH 
 
 Born in Crawfordsville, Ind., in 1857. After several 
 years spent in teaching she devoted herself to journalistic 
 work. She has travelled extensively, and has written many 
 series of letters on the lands and peoples visited. Among 
 her publications are 'Alice in the Hawaiian Islands," "Two 
 Girls in China," "Picturesque Honolulu." Miss Krout re- 
 sides in Crawfordsville. 
 
 Selection: III, 121. 
 
 LAD WHO WENT TO THE NORTH WIND, THE 
 
 (Dasent— III — 142.) The kind of safe in the story is 
 different from what we are used to, it being a sort of store- 
 room where supplies are kept. Why would you expect 
 the North Wind to have a loud gruff voice and rough 
 manners? Do you think it took the meal to show an ill 
 will? Why not? How did it make up to the lad? What 
 happened to the magic cloth? When did the lad find he 
 had been tricked? What did the North Wind give the 
 lad on his second visit? Ducats, either one of several 
 European coins, valued from eight-three cents to two 
 dollars and twenty-five cents. What happened to the ram? 
 What was the third gift from the North Wind? How 
 did the lad make this gift serve his purpose? What was 
 the result of this trip? 
 
 LAMB, CHARLES 
 
 Born in London, February 10, 1775 ; educated at the 
 School of Christ's Hospital and afterwards a clerk in the 
 South Sea office and in the office of the East India Com- 
 pany. Lamb is noted mainly as an esayist, his finest work 
 in this direction being published under the title of "Es- 
 says of Elia." As a literary critic he paid much attention 
 to early English literature, editing "Specimens from the 
 
 133 
 
English Dramatic Poets." The "Tales from Shakespeare," 
 written by him in connection with his sister, Mary, forms 
 one of the best books for young people. Died at Edmon- 
 ton, England, December 29, 1834. Life in English Men of 
 Letters series. 
 
 Selections: IV, 167, 250. 
 
 LAMPLIGHTER, THE 
 
 (Stevenson — III — 11.) Before the day of electric lights, 
 a lamplighter made the rounds to light the lamps in the 
 streets. In small places this is still the custom. Is the 
 ambition of this child of a rich banker, to go about with 
 the lamplighter, an unusual or strange fane}'? What is it 
 in the life of the lamplighter that fascinates the child? 
 Why does he lay so much stress upon the daily greeting 
 of the lamplighter? 
 
 LANDING OF THE PILGRIM FATHERS, THE 
 
 (Hemans— IV— 168.) The full title of this poem is "The 
 Landing of the Pilgrim Fathers in New England," and it 
 has prefixed to it this stanza from Bryant: 
 
 "Look now abroad! Another race has fill'd 
 Those populous borders — wide the wood recedes, 
 And towns shoot up, and fertile realms are till'd; 
 The land is full of harvest and green meads." 
 The thought in this stanza serves by contrast to bring 
 out in strong relief the scene of the landing. The stanzas 
 of the poem may be thought of as falling into four groups 
 according to the movement of the thought: (1) The first 
 two stanzas give an account of the stern and forbidding 
 circumstances under which they arrived. (2) The next 
 four tell us how they came. (3) The seventh and eighth, 
 tell us who were in the company and hint some of their 
 characteristics. (4) The last two stanzas tell us what 
 they sought and what they have handed down to us. — 
 What is the picture presented in stanzas 1 and 2? Would 
 it suggest a pleasant and comfortable home to the col- 
 onist? What three methods of coming are given in stanzas 
 3 and 4? Notice how the last one is contrasted with both 
 
 134 
 
the others. What was the spirit of their song? What 
 was the welcome they received? Where is the answer to 
 the question in stanza 7? What can you learn about these 
 Pilgrims from stanza 8? W T hat possible purposes of 
 colonization are given in lines 2 and 3 of stanza 9? Why 
 are these mentioned? (For contrast with their real pur- 
 pose, given in the last line of stanza 9.) Why call "the 
 soil where first they trod" "holy ground?" — The language 
 of this poem needs to be considered very carefully. Its 
 sonorous quality is fitted to express the sublimity of the 
 idea for which the Pilgrims stood, — freedom of worship. 
 — St. 4. The flying. Fugitives from justice, seeking a 
 place to hide. — Mrs. Hemans would not have spoken of 
 the coast as "stern and rockbound" if she had looked up 
 her geography carefully. It is really sandy where the 
 landing occurred. Does it make any difference as to the 
 merit of the poem? What she is concerned about is to 
 awaken a certain feeling toward the Pilgrims. 
 
 LANG, ANDREW 
 
 One of the most prolific of English writers. He was 
 born at Selkirk, Scotland, March 31, 1844; educated at 
 Saint Andrews University and at Oxford; a classical 
 scholar of distinction. He assisted in making fine prose 
 translations of the "Iliad" and the "Odyssey." "Custom 
 and Myth," and 'Myth, Ritual, and Religion" are important 
 studies. In the field of history, among many titles, one 
 of his best works is "A History of Scotland from the 
 Roman Occupation." He has written much charming 
 society verse, and many contributions to biography and 
 literary criticism. He has compiled fairy books almost 
 without number, calling them by the colors, as "The 
 Yellow Fairy Book," etc. Contributions to magazines and 
 other periodicals cover almost every conceivable topic. 
 
 Selection: III, 211. 
 
 LANGUAGE THAT NEEDS A REST 
 
 (Hawkins— V— 259.) The writer has hit upon a very 
 attractive plan of calling attention to the misuse of some 
 words ?nd the "overworking" of others. Explain what 
 
 135 
 
took place. Study carefully the complaints of the various 
 expressions and think over your own habits of speech. 
 Are you in the habit of using many of the expressions 
 mentioned in the selection? Don't make the mistake of 
 supposing that such use is criminal. Language should 
 not be allowed, to harden into forms that destroy its flexi- 
 bility, but the purist is as dangerous as the liberal when 
 he undertakes to shut us out from expressions that custom 
 approves. 
 
 LANIER, SIDNEY 
 
 Born at Macon, Georgia, February 3, 1842; graduated 
 at Oglethorpe College, Georgia, in i860, and served in 
 the Confederate Army during the war; studied and prac- 
 ticed law for a while in Macon, removing in 1873 to Bal- 
 timore, Maryland, where he chiefly resided until his death. 
 Here he devoted himself to the study of literature and 
 music. His success as a poet led to his appointmemt as a 
 lecturer at Johns Hopkins University in 1879. His lec- 
 tures resulted in two books, "The Science of English 
 Verse" and "The English Novel." He also edited several 
 classics for children. Died at Lynn, N. C, September 
 7, 1881. His works are published by Charles Scribner's 
 Sons, New York. The authoritative memoir is prefixed 
 to the volume of his poetry. 
 
 Selection: V, 214. 
 
 LANTERN AND THE FAN, THE 
 
 (Anon. — II — 17.) Why did the two little girls make 
 the promise so hastily? When did they first realize what 
 a hard thing they had promised to do? Would you ex- 
 pect a beautiful fairy to give them a good or a bad sug- 
 gestion? How was Nan Kin able to carry fire in a paper 
 to her father? How was Tsi Ann able to carry wind in 
 a paper to him? What was the father's motive in mak- 
 ing this strange request? Would it be at all hard to find 
 a paper lantern and a paper fan in China? 
 
 LARCOM, LUCY 
 
 Born at Beverly, Mass., in 1826. While working in the 
 mills at Lowell, Mass., she attracted the attention of 
 
 136 
 
Whittier by some contributions to a local journal. She 
 was, for a time, a teacher, and later edited "Our Young 
 Folks." Her fame rests almost entirely on her poetry. 
 She died at Boston, April 17, 1893. 
 Selection: V, 156. 
 
 LASTING FRIENDSHIP, A 
 
 (Anon. — III — 38.) The biblical story upon which the 
 selection is based, may be found in I Samuel beginning 
 with the eighteenth chapter. Bring out the difference in 
 the stations of these two men. What was the occasion of 
 David's first visit to the home of Jonathan? What other 
 service did David render Saul besides playing for him? 
 What made Saul envious of David? Was Jonathan en- 
 vious? Did Jonathan take sides with his father or his 
 friend? How did David prove his friendship to Jonathan? 
 How did Jonathan prove his friendship to David? What 
 did David say in his song, of his friend Jonathan after 
 his death? What was the most valuable thing in the 
 world to David? Did he deserve to be king? 
 
 LAYING THE CORNER-STONE OF THE BUNKER 
 HILL MONUMENT 
 
 (Webster — V — 275.) This selection is made up of para- 
 graphs from the early part of Webster's oration. It was 
 delivered on the 17th of June, 1825, and the following 
 paragraph will serve as introduction to the scene: 
 
 "It was a typical June day, and thousands flocked to 
 see the pageant and to hear the greatest orator in the 
 land. The procession started from the State House at 
 ten o'clock. The military led the van. About two hun- 
 dred veterans of the Revolution rode in carriages, and 
 among them were forty survivors of the battle. Some 
 wore their old uniform, others various decorations of 
 their service, and some bore the scars of honorable 
 wounds. Following the patriots came the Monument 
 Association, and then the Masonic fraternity to the num- 
 ber of thousands. Then came the noble Frenchman, 
 Lafayette, the admiration of all eyes. Following him 
 were numerous societies with banners and music. The 
 
 137 
 
head of the procession touched Charleston bridge before 
 the rear had left the State House, and the march was a 
 continual ovation. Arriving at Breed's Hill, the Grand 
 Master of the Masons, Lafayette, and the president of the 
 Monument Association laid the corner-stone, and then 
 moved Lo the spacious amphitheatre on the northern side 
 of the hill, where the address was delivered by Mr. Web- 
 ster." 
 
 After reading the extract through carefully, turned back 
 to the beginning and consider in detail the special point 
 of each paragraph. Remember that the orator on an oc- 
 casion like this is trying to express the feeling that more 
 or less possesses each member of the audience and also 
 to interpret for them the significance of this feeling, and 
 to deepen and broaden it. Notice the general nature of 
 the first paragraph, the evidences of the common effect 
 of the occasion. In the second, the local associations are 
 mentioned which justify the strong emotions present. 
 What are they? In the third is a general statement of 
 the reasons for choosing this particular time and place 
 and day for the purpose stated. What are the reasons? 
 The fourth paragraph expresses the hope that the work 
 so auspiciously begun will be carried to completion. Why? 
 The last four paragraphs elaborate the objects to be 
 accomplished, the purposes to be served, by the monu- 
 ment. Select and read the sentences that state these 
 purposes most effectively. Does it seem to you that 
 Webster's language has a sublimity about it in keeping 
 with the occasion. Select some of the passages that seem 
 to possess this quality in special degree. — Society 
 organ. The society was the Bunker Hill Monument As- 
 sociation, and Webster, the president of the association, 
 officiated as its representative or organ. — Cloud of wit- 
 nesses. Can you locate this Bible reference? 
 
 LAYING OF THE CORNER-STONE OF THE NEW 
 STATE HOUSE, THE 
 
 (Hendricks — V — 30.) An extract from the speech of 
 Mr. Hendricks on the occasion mentioned. How is the 
 
 138 
 
character of a people determined? Upon what founda- 
 tions was the State established? How have these early- 
 pledges been kept? Why is the State House an impor- 
 tant building? (Second paragraph.) Explain the refer- 
 ence to the temple of the Ancient Israelites. (Read 
 especially Matthew XXII. With a concordance locate 
 other references that will help understand the important 
 part of the temple in the life of the Israelites.) Upon 
 what two bases can we predict a great future for the 
 State? (Third and fourth paragraphs.) Which is the 
 important consideration? Why? 
 
 LEAK IN THE DIKE, THE 
 
 (Gary — III — 231.) As a preparation for this story it 
 would be well for the class to be told about the system 
 of dikes by which Holland is protected from the sea, and 
 for them to dwell upon the danger of the slightest break 
 in these. Recall the few facts given in the primary geo- 
 graphy about Holland. What task did Peter's mother 
 give him to do? What kind of a boy was Peter? How 
 is that shown in the poem? When was Peter expected 
 back? What did the mother say when he failed to re- 
 turn? Tell about Peter's homeward trip. What does he 
 say to the sea? What effect does the trickling sound 
 have upon him? What does he do? Why does Peter lay 
 his ear to the ground? W T hat does his mother think when 
 they bring Peter home? What do the bearers of the 
 boy's body shout to the mother and father? Why is this 
 a good story for fathers to tell to their sons? What do 
 we call such conduct as Peter's? 
 
 Sluices. Flood gates. 
 
 LEAVES AT PLAY 
 
 (Sherman — III — 27.) Does the word ''scamper" ex- 
 press in a satisfying way, the motion of the autumn 
 leaves? What is meant by the old wind "laughing"? 
 About how long after the leaves fall before snow comes? 
 What is meant by the leaves getting tired? What is the 
 "snow-dovny coverlet"? How is the old wind responsible 
 for tucking the leaves in their coverlet? Do the leaves 
 
 139 
 
seem to really romp? How can they dance across the 
 autumn day? Why should the wind say good-night to 
 the leaves? What good comes of the long sleep of the 
 leaves? 
 
 LETITIA AND THE REDCOATS 
 
 (Price — IV — 132.) What news did Letitia bring her 
 grandmother? What do you observe about the language 
 spoken? How does it differ from our everyday speech? 
 When did the story told here, happen? How can you tell? 
 What scheme did Letitia hit upon? What led her to 
 think of it? On what points did she base her appeal? 
 Why did she write two copies? How did she manage to 
 leave the notes without being found out? Tell what took 
 place when the red-coats took possession. Why did they 
 spare the gander? Did the red-coats have a keen sense of 
 humor as wel! as kind hearts? 
 
 LINCOLN 
 
 (Lowell — V — 200.) This is an extract from Lowell's 
 famous "Commemoration Ode" read at the Harvard 
 memorial ceremony in honor of those sons of the univer- 
 sity who had lost their lives in the Civil War. Naturally 
 in the course of such a poem he would turn to the great- 
 est figure of that crucial period as an example of what 
 the highest and truest manhood means. 
 
 What is the old saying about Nature's method? What 
 new plan did she adopt in regard to Lincoln? What does 
 that account for? Why does the poet refrain from prais- 
 ing Lincoln? How does his fame contrast with that of 
 the great captains (generals)? Why liken him to a tower? 
 What epithets are used to characterize Lincoln? Do 
 they seem to you well chosen? Does the language have 
 the dignity and sublimity appropriate for a memorial oc- 
 casion'* Show this by reading it. 
 
 LITTLE BLUE FOX, THE 
 
 (Jordan — IV — 1.) A few years ago a very remarkable 
 book by David Starr Jordan, President of Leland Stan- 
 ford, Jr., University, called "The Book of Knight and 
 
 140 
 
Barbara," was published. It consisted of a great variety 
 of stories on many themes and illustrated with pictures 
 made by children after hearing the stories. Some of 
 these stories were versions of old myths and legends, 
 some were ordinary popular legends, some told the life 
 history of animals, and some were inventions pure and 
 simple, but all had the humorous touch and the oral 
 .quality so dear to the child. 
 
 Describe the character and home of the little blue fox. 
 Imitate the noises made by him and his children. De- 
 scribe the sea parrot and his nest. What humorous fea- 
 tures has he? What do you think happened when the fox 
 found him? How can you be sure? What did the fox do 
 when he came upon the man on the ground? What does 
 "like a scared buzz-saw" mean? 
 
 LITTLE BROWN HANDS 
 
 (Krout— III— 121.) What is the suggestion in the fact 
 that the little hands are brown? What does the knowl- 
 edge of so many living things signify as to the manner 
 of life? Explain "scarlet-iipped," "hammock-nest." Chisel. 
 Tool used by sculptor in carving.— Palette. Tablet on 
 which artists lay their colors.— Name all the great men 
 and women you know who came from humble origin. If 
 you were an artist what picture in the poem would you 
 paint that would most successfully express in your estima- 
 tion the theme? 
 
 LITTLE LEAF, THE 
 
 (Beecher — II— 58.) This beautiful little fable is one of 
 a number of stories for children in a novel by the au- 
 thor, called "Norwood." There are a few lines of com- 
 ment in conection with the story of the little leaf that 
 are worth quoting. Mr. Beecher says: "How charming it 
 is to narrate fables to children? How daintily do they 
 carry on the conscious dramatic deception! They know 
 that if the question were once got in upon them, 'Are 
 these things true'? the bubble would burst and all its 
 fine color would disappear. Children are unconscious 
 philosophers. They refuse to pull to pieces their enjoy- 
 
 141 
 
ments to see what they are made of. Rose (the little 
 girl for whom the fable was told) knew as well as her 
 father thai leaves never talked. Yet Rose never saw a 
 leaf without feeling that there was life and meaning in it." 
 Why was it that the tree knew so much more than the 
 leaf? What was the leaf's work? What was the color 
 of its work clothes? When its work was over, what kind 
 of holiday clothes did it put on? Why does the author 
 speak of the leaf being whirled "like a spark of fire"? 
 
 LITTLE WARRIOR'S COUNSEL 
 
 (Grinnell — IV — 117.) Upon what does Little Warrior's 
 claim to be called a hero rest? How does he contrast 
 with other heroes? Give the historical setting of the 
 story. How had the Ute disguised himself? How was 
 he found out? What were the main points in Little 
 Warrior's argument? Study it carefully, taking notice of 
 the very simple, forcible nature of the language. What 
 was the result of his efforts? What impression of Indian 
 character do you have after reading this? Do you agree 
 that this is a story of a real hero? — Coup. This French 
 word meaning a stroke, has a special meaning when ap- 
 plied to the Indians. It means a stroke that captures the 
 weapon or horse of an enemy, and may thus be used 
 to mean the trophies of war, or brave deeds of which 
 these trophies are evidences. — Ti-ra-wa. The deity of 
 war. 
 
 LOTI, PIERRE 
 
 This is the name assumed by a French novelist and 
 naval officer whose real name is Jean Marie julien Viaud. 
 He was born in 1850. He saw much of the world, and 
 in his novels made use of the results of his travels, locat- 
 ing the scenes in strange places and writing strange, im- 
 pressionistic romances, powerfully tinged with melan- 
 choly. Those best known in English translations are 
 "Madame Chrysantheme," The Island Fisherman," and 
 "Disenchanted." The autobiography of his early years 
 called "The Story of a Child" has also been translated 
 
 142 
 
and published in this country. From this latter a selec- 
 tion is taken for the fifth reader. 
 Selection: V, 153. 
 
 LONGFELLOW, HENRY WADSWORTH 
 
 Born at Portland, Maine, February 27, 1807; graduated 
 at Bowdoin College in 1825; spent three years abroad 
 preparing for professorship of modern languages at Bow- 
 doin; kept the same chair at Harvard from 1836 to 1854; 
 spent the remainder of his life in quiet literary work in 
 Cambridge; died March 24, 1882. His first poetic work 
 of any prominence was '"The Voices of the Night," pub- 
 lished in 1839 and containing several of his best known 
 shorter poems. Among his longer works are "Evange- 
 line", "Hiawatha" and the collection of Tales of a Way- 
 side Inn." His translation of Dante is of first value. The 
 authoritative biography of Longfellow is that prepared 
 by his brother, Samuel Longfellow, and published in 
 three volumes. A briefer life may be found in the Great 
 Writers Series, by Professor Eric S. Robertson. The 
 authorized edition of Longfellow's works is published by 
 Houghton, Mifnin & Company, Boston, Mass. The ex- 
 piration of the copyrights on a large portion of his work, 
 including "Hiawatha" and "Evangeline," has resulted in 
 various cheap editions of those portions of his work. 
 
 Selections as follows: III, 139; IV, 60, 175; V, 39. 
 
 LOUNSBERRY, ALICE 
 
 Selection: III, 183. 
 
 LOWELL, JAMES RUSSELL 
 
 Born at Cambridge, Mass., February 22, 1819; grad- 
 uated at Harvard in 1838; admitted to the bar but never 
 practiced; interested in anti-slavery movements, published 
 the "Vision of Sir Launfal," "A Fable for Critics" and the 
 first series of the "Bigelow Papers" in 1848. These 
 brought him popularity. He became the first editor of 
 "The Atlantic Monthly" in 1857, and later edited "The 
 North American Review," was a prose writer of great 
 force and a diplomat of first rank, representing the 
 
 143 
 
United States in Spain and England; died August 12, 1891. 
 The authorized edition of his work is published by Hough- 
 ton, Mifflin & Co., Boston, Mass. The most valuable bio> 
 graphical material is found in his letters, in two volumes, 
 edited by C. E. Norton. The best brief life is by Ferris 
 Grenslet. 
 
 Selections: IV, 74; V, 200. 
 
 MACKAY, CHARLES 
 
 Born in Perth, Scotland, 1812; early entered the field 
 of journalism and devoted his life to literature. While 
 the author of a large number of books, he is popularly 
 known almost entirely by his songs, many of which he 
 himself set to music. He was correspondent of the "Lon- 
 don Times" in the United States during the Civil War. 
 Died in London, December, 1889. 
 
 Selection: IV, 210. 
 
 MAGGIE RUNS AWAY FROM HER SHADOW 
 
 (George Eliot — V- — no.) This extract is one of the 
 familiar passages from "The Mill on the Floss." Extracts 
 from novels are likely to be unsatisfactory because the 
 understanding of the passage generally depends upon 
 many things that are found in preceding portions of the 
 book. Mrs. Tulliver had taken Maggie and Tom and 
 their cousin Lucy Deane for a visit with Aunt Pullet at 
 Garum Firs. Aunt Pullet's was a rather depressing place 
 for youngsters, and Maggie having, as was her nature, 
 impulsively lost her temper and pushed Lucy into the 
 mud, had started away on another impulse. Keep in mind 
 that Maggie was a child and did not know as much about 
 distances and directions and people as she might be ex- 
 pected to some day. 
 
 Where did she decide to go? Why did she decide to let 
 her father know, secretly, where she was? What ex- 
 periences and thoughts came to her on the way? Where 
 do you think Maggie had gotten her notions about 
 gypsies? What disappointments did she suffer in regard 
 to them? How did she expect to improve them? What 
 did she talk to them about? What further fall occurred 
 
 144 
 
in her gypsy ideals? Why did she decide to go home? 
 Tell of her trip home? Can you tell from the final scene 
 why she loved her father so well? — The great thing about 
 this passage is its fine analysis of the child mind. Does 
 George Eliot make you feel that you understand just how 
 things looked to Maggie at every step? — Apollyon. The 
 terrible giant in "Pilgrim's Progress" with whom Chris- 
 tian had a fierce struggle. Maggie had read that book: 
 have you? — Skewer. A pointed stick of hard wood. — 
 Jack the Giant Killer. The hero of one of the best known 
 child's stories. — Mr. Greatheart. A very important char- 
 acter in the second part of "Pilgrim's Progress." — St. 
 George. The Patron Saint of England. Where did Mag- 
 gie get her image of St. George? 
 
 MALORY, THOMAS 
 
 The author of the famous collection of legends which 
 cluster around the career of King Arthur and his Knights 
 of the Round Table, called "Morte d'Arthur." It belongs 
 to about the year 1470, and is one of the great monuments 
 in our literature. Little is known about Malory, though 
 conjecture has been busy. Professor Kittridge's theory 
 that he was a Knight of Warwickshire who died in 1470, 
 has more to justify it than other theories. The King 
 Aithur legends are the basis of many modern pieces of 
 literature, notably Tennyson's "Idylls of the King." The 
 "Morte d'Arthur" was printed in 1485 by Caxton, who 
 divided it into books and chapters. 
 
 Selection: V, 295. 
 
 MARYLAND YELLOW-THROAT, THE 
 
 (Van Dyke — V — 124.) How does the poet tell you 
 what season is at hand? A poet's method is to present 
 his truths by appealing to our imaging faculty. Thus in- 
 stead of naming the season he will picture certain features 
 of it, — those features that induce the proper state of mind 
 necessary to appreciate what he has to say. Explain the 
 second iine. What one element in this scene does he 
 center the attention upon? Notice that this object makes 
 two appeals; one to our hearing, the other to our sight. 
 
 145 
 
What word does he repeat to suggest the music of the 
 bird? What does this word do other than to reproduce 
 the note of the bird? (Incantation is something that 
 throws one under a spell. In connection with witchcraft 
 it always meant an evil influence. Is it so here?) What 
 comparisons suggest the movements of the bird? The 
 last two stanzas are based upon a play on a word; notice 
 it ; n the second line of the third stanza. And then recall 
 your old nursery rhyme: 
 
 "Mary, Mary, quite contrary! 
 
 How does your garden grow? 
 With silver bells, and cockle shells, 
 
 And little maids all in a row." 
 
 How does the poet work the "witching" effect of this 
 rhyme into his tribute to the bird? — Have you read any 
 other poems in which there are refrains? What does the 
 refrain do? 
 
 MASQUE OF THE SEASONS, A 
 
 (Riley — II — 167.) A masque was a play; formely in 
 vogue, in which the actors impersonated mythological 
 deities, Goddesses, etc. This selection will be more easily 
 understood if parts are taken by pupils and the dramatic 
 feature emphasized. In the speech of Little Mandeville 
 make the point as to why the Summer-time is the time 
 for the circus. What is the color of the ruby? Why do 
 the bees sting the grapes? How does a little child feel 
 when her heart has all it can hold? What is the Queen's 
 reason for sending all four seasons? 
 
 MATTHEWS, (JAMES) BRANDER 
 
 Eorn at New Orleans, February 21, 1852. Educated at 
 Columbia, studied law, but soon turned to literature, to 
 which he has devoted his life as writer and teacher. Fic- 
 tion, drama and criticism are all found in his long list of 
 books. In recent years he has been active as chairman 
 of the Simplified Spelling Board. Since 1892, he has been 
 professor of dramatic literature at Columbia. Among his 
 
 146 
 
stories may be mentioned, "His Father's Sons," "Tales o£ 
 Fantasy and Fact," "A Confident To-morrow." 
 Selection: V, 3_I3- 
 
 MEANING OF THE FLAG, THE 
 
 (Dole— IV— 239.) Impress if possible the extent of the 
 American Nation. Compare its territory with that of 
 England, for example. Recall the many interests it pos- 
 sesses in other countries, and the extent to which its 
 citizens are scattered over the globe. Call to mind the 
 fact that wherever these interests exist, and wherever the 
 American goes, he finds his flag. The question then 
 arises, "What is the meaning of the flag?" Before ans- 
 wering this question ask the price we paid for it, (1) in 
 the American Revolution; (2) in the Civil War. Of what 
 does the flag assure us? Is there a reciprocal obliga- 
 tion? Why does the writer say the flag is one of peace? 
 
 MILLER, EMILY HUNTINGTON 
 
 Born in Brooklyn, Conn., October 22, 1833. Graduated 
 at Oberlin in 1857. Her husband was professor of Greek 
 and Latin at Northwestern University and later an edi- 
 tor of "The Little Corporal." After his death in 1882, 
 Mrs. -Miller devoted herself more completely to literature 
 and club movements. From 1891-98 she was dean of wo- 
 men of Northwestern University. Her present home is 
 at Englewood, N. J. Her poems have fine lyric quality 
 and over a hundred of them have been set to music. 
 
 Selection: III, 196. 
 
 MILLER, JOAQUIN 
 
 An American poet whose real name is Cincinnatus 
 Heine Miller. His "nickname" was taken from a Mexican 
 bandit, of whom he wrote a defense. Miller was born 
 in Indiana, November 10, 1841. When a child, his parents 
 moved to Oregon, and his life has been a varied and 
 active one. He has been lawyer, judge, editor, filibusterer 
 (with Walker's expedition to Nicaragua, in 1855), travel- 
 ler, journalist, playwright, and poet. His poetry has, per- 
 haps, been more highly regarded in England than in his 
 
 147 
 
native country. His little poem entitled "Columbus" is 
 widely known. Mr. Miller at present lives near Oakland, 
 California. 
 
 Selection: V, 306. 
 
 MILLER, HARRIET MANN ("Olive Thome Miller") 
 
 Born at Auburn, N. Y., in 1831. As an author of 
 various books about birds and as a lecturer on birds she 
 has done much oi great value along educational lines. 
 "Little Folks in Feathers and Fur," "Bird Ways," "Little 
 Brothers of the Air," are some of her well known books. 
 
 Selection: III, 28. 
 
 MILTON, JOHN 
 
 Generally ranked as the greatest English poet after 
 Shakespeare. He was born in Bread Street, London, 
 December 6, 1608. Educated at Cambridge. Milton was 
 of retired, studious habits and became a fine classical 
 scholar. Giving up the idea of preparing for the church 
 he retired to his father's estate at Horton and for six 
 years gave himself to the study of his favorite classics. 
 This period also gave us the briefer, and more widely 
 read poems of Milton, "L'AUegro" and "II Penseroso," 
 "Comus," "Lycidas" and the fragment of "Arcades." 
 Each in its field is a masterpiece and with the "Nativity 
 Hymn," written while still at Cambridge, comprise the 
 work of his first period. 
 
 In 1638 he went to Italy and while travelling there 
 heard of the threatening state of affairs in England. He 
 returned at once and during the twenty years ending 
 with the Restoration of Charles II, in 1660, devoted him- 
 self to the cause of the Commonwealth. Under Crom- 
 well he was the Latin Secretary of State. If some pam- 
 phleteer attacked the government, Milton was the mouth- 
 piece that replied. Questions of policy, education, di- 
 vorce, freedom of the press, — all these were topics dis- 
 cussed at great length and with great clearness and force. 
 The most famous of these essays was the "Areopagitica," 
 which dealt with the freedom of the press. A few son- 
 nets include his poetic work of this period. He used his 
 
 148 
 
"left hand," as he said, entirely. During this period he 
 lost his sight. 
 
 Milton escaped the fate that befell so many at the Re- 
 storation, and, in retirement, turned his energies to the 
 great project of his life, the writing of an epic based on 
 the fall of man. "Paradise .Lost" was published in 1667, 
 to be followed by "Paradise Regained," and the "Sam- 
 son Agonistes," a poem on the model of the Greek 
 tragedy. He died November 8, 1674. Milton's poetry is 
 marked by sublimity of thought and imagery. 
 
 Selection: V, 38. 
 
 MISS BILLY 
 
 (Peary — III — 68.) The name Ah-ni-ghi-to is the Es- 
 kimo for "Snow-baby." What was "Miss Billy's" house 
 made of in the snowland? Why had she never seen a 
 bush, or a house, or a train of cars? How do they travel 
 in her country? Can you see a reason why an Eskimo 
 does not bathe? Why did "Billy" call the horses big dogs? 
 What is there about an engine that would make "Billy" 
 think it was an animal and might eat people? Why does 
 the writer speak of "Billy" as a "dusky" maiden? Why do 
 the Eskimos eat nothing but meat? How do they get 
 their light and heat? — Blubber. Whale fat. — Why does the 
 writer call "Billy's" country, the land of the midnight 
 sun? What incident makes you sure that "Billy's" visit to 
 America did not cause her to forget her early habits. 
 
 MIST, THE 
 
 (Ewald — IV — 230.) Impress every detail of the ex- 
 qusite picture in the first few paragraphs of the selection. 
 It is a fitting prelude, as it were, to the rising of the 
 curtain on the real scene between the mist and the night- 
 scented rocket. This flower, sometimes called the Dame's 
 Violet, has no odor in daytime, but becomes very fragrant 
 at night. Note as you proceed, the capricious, and elusive 
 quality in the mist's conversation as well as its conduct. 
 — Churl. A low-bred fellow. — When the rocket asked the 
 mist who he was, what was the answer? Why didn't the 
 rocket believe him? Follow very carefully the circle in 
 
 149 
 
which the mist's experience travels. Why did it make 
 the rocket's head swim? The picture of the mist's going 
 is the reverse of the one that prefaced his coming. What 
 was the mist's last word to the rocket? Did she believe 
 it? Did the sun understand the entire situation when he 
 spoke as he did to the rocket. 
 
 MONTHS, THE 
 
 (Coleridge — II — 28.) This poem if committed will 
 afford a happy way of fixing the months in their order. 
 Many of the associations are more English than American. 
 Primroses, gilly flowers, and pheasants are more familiar 
 to the English child than to the American. Draw upon 
 the child's own experience for associations with the dif- 
 ferent months. 
 
 MOODY, WILLIAM VAUGHN 
 
 Born at Spencer, Indiana, in 1869. Educated at Har- 
 vard, and later an instructor in English there. From 1901 
 to 1907 he was a professor in the University of Chicago. 
 Since then he has been engaged in literary work in New 
 York. His first work was "The Masque of Judgment," 
 published in 1900. His shorter works are full of poetic 
 energy and show a thoughtful mind at work on the 
 social problems of the day. A play, "The Great Divide," 
 in 1907, has had a great success. More recently he has 
 published another drama called "The Faith Healer." 
 Among his finer poems may be mentioned "An Ode in 
 the Time of Hesitation," "The Managerie," and "Glouces- 
 ter Moors." 
 
 Selection: V, 328. 
 
 MOORE, CLEMENT C, 
 
 Born in New York City, July 15, 1779, graduated at 
 Columbia College and was professor of Hebrew at the 
 General Theological Seminary of New York from 1821 
 until his death at Newport, Rhode Island, July 10, 1863. 
 The most noted of his poems is "A Visit from St. 
 Nicholas", found in III, p. 89. 
 
 150 
 
MORN TILL NIGHT ON A FLORIDA RIVER 
 
 (Lanier — V — 214.) What does the first sentence tell 
 you about the story to follow? Is all the rest simply an 
 elaboration? Locate and describe the scene. What fit- 
 ness in using the word "lone" for the river? What did 
 they see of special interest? Describe the water-turkey. 
 Read a passage or two which bring out the humor of its 
 make-up. Tell all about 'the handsomest residence in 
 America." What features of the. river impress the travel- 
 lers as they go farther up? What made it "a night of 
 glory"? What do you learn about the duties of pole-men? 
 What is the way to sleep under such conditions as de- 
 scribed? Do you think you would like it better than a 
 berth? This selection is full of the most beautiful, de- 
 scriptive language. Select a number of the passages that 
 appeal to you most. — Ornithology is the science that 
 deals with birds. — Sprat. Name of a small fish. — Saurian. 
 A scaly reptile with legs. — Meanders. The Meander is a 
 river in Asia Minor. Its slow, winding course gave rise 
 to the verb, and suggests its meaning. — Ineffable means 
 incapable of being expressed in words. Does it refer to 
 the lillies themselves or to the feeling produced by their 
 beauty? — Explain the last sentence. Is that the ideal of 
 what a vacation ought to do for one? 
 
 MORTIFYING MISTAKE, A 
 
 (Pratt — III — 150.) Mortifying. Humiliating, vexatious. 
 — Are some of the numbers in the multiplication tables 
 harder to remember than others? How did the older 
 sister think that calling the doll "Fifty-four" would help 
 remember "six times nine"? DTd Dorothy really have a 
 right to laugh at Elizabeth's mistake? Why? What was 
 the result of her laughing? Whose was the funniest 
 mistake? How do you account for Dorothy's answer? 
 
 MOSES SELLS THE COLT 
 
 (Goldsmith — V — 173.) This extract (revised) is taken 
 from Chapter XII of "The Vicar of Wakefield," one of 
 the famous stories in English literature. It was pub- 
 
 151 
 
lished in 1766, and is the story cf a simple-hearted old 
 clergyman and his family. In this story, with all its ar- 
 tistic faults, Goldsmith gets close to the heart of humanity 
 and brings the novel "down to the village fireside." The 
 selection given is one of the best known episodes in the 
 story. It is told in the first person, the old vicar being 
 the speaker. 
 
 What scheme does the family decide upon? Why? 
 Why do they decide to send Moses? How was he "rigged 
 out" for the fair? What opinion did Moses's mother have 
 of him? Are you impressed with the soundness of her 
 judgment? What surprised them when they saw Moses 
 returning? Was Moses satisfied with his bargaining? 
 What was found out when the spectacles were examined? 
 How did his mother feel about it? Give Moses's account 
 of the way he was cheated? What impression of the 
 vicar do you get from this pasage? What are some of 
 the amusing things in the story? 
 
 Discreet. Wise. — An omission in the last line of the 
 first paragraph obscures the sense. It should read, "He 
 always stands out and higgles, and actually tires them 
 till he gets a bargain." Stands out means persists, while 
 higgles means strives for advantage' in a petty way. — 
 Commission. Authority to act for another. — Buckles. 
 Where? — Cocking. Turning up the brim. — Thunder-and 
 lightning. Wollen cloth of a very dark gray color, known 
 as Oxford mixture: also called Oxford gray, and pepper- 
 and-salt. — Gosling Green. A yellowish green. The origin 
 of the term is evident. — Tied his hair. What does this 
 tell you about the way young men wore their hair at 
 that time?— Deal. Pine. — Sell his hen, &c. A proverbial 
 expression, meaning to get cheated. — Shagreen. A kind 
 of leather, made without tanning, from the skins of 
 horses. — Paltry. Worthless. — Talked him up. Over per- 
 suaded. 
 
 MUD-WASP'S HOME, THE 
 
 (Hook — 111 — 198.) Why does mud make good build- 
 ing materia!? Why is it particularly good for the wasp? 
 
 152 
 
What is the shape of her rooms? Does she put live 
 spiders into the little rooms with the eggs? What tools 
 does the wasp use? Why are the homes of the mud- 
 wasps more wonderful than the adobe houses in Mexico? 
 
 MUIR, JOHN 
 
 Born in Dunbar, Scotland, April 21, 1838. After coming 
 to the United States he graduated from the University 
 of Wisconsin. He has spent his life in the work of an 
 explorer and naturalist, paying special attention to the 
 less known portions of North America. He has been very 
 prominent in the cause of forest preservation and the 
 establishment of National parks, He has written ex- 
 tensively for periodicals on his favorite themes. He is 
 the author "Our National Parks" and "The Mountains of 
 California." 
 
 Selection: V, 264. 
 
 MULETS, LENORE ELIZABETH 
 
 Selection: III, 192. 
 
 MURRAY-AARON, EUGENE 
 
 Born at Norristown, Pa., August 4, 1852. An editor 
 and geographer. Among his publications are "The New 
 Jamaica" and "The Butterfly Hunters in the Caribbees." 
 Lives at Wilmette, 111. 
 
 Selections: IV, 85; V, 85. 
 
 MUSIC BOX, A 
 
 (Brown — II — 64.) In the music box where do you look 
 for the works that make the music? Is this poem writ- 
 ten about the kind of a music box that is made out of 
 wood and metal? Where do you look for the works that 
 make the music in the little human music box? Why 
 does the poet speak of its playing "its little living tune"? 
 How can the works in this kind get tangled up? What 
 conditions are necessary in order that this music box 
 will always play in tune? Is its music always that kind 
 that can be heard with the ear? 
 
 153 
 
MY FUNNY DOLLY 
 
 (Tucker — II — 20.) What is the first thing in the poem 
 that makes you think this is a funny dolly? What is the 
 second? Yokohama, a seaport on the main island of 
 Japan. — What is funny about the dolly's looks and its 
 clothes? What kind of little boys and girls would you 
 find in Yokohama? Would an American dolly named 
 Tommy Jones seem just as funny to the little girl in 
 Yokohama, as Ko-Chung-Kee does to us? 
 
 MY MOTHER 
 
 (Loti — V — 153.) This little episode, or impression, is 
 taken from the fifth chapter of Loti's "The Story of a 
 Child." That book is an autobiography of his childhood 
 written in middle life and its qualities are thus expressed 
 by Edward Howard Griggs: 
 
 ''There is hardly a fact in the book. It tells not what 
 the child did or what was done to him, but what he felt, 
 thought, dreamed. A record of impressions through the 
 dim years of awakening, it reveals a peculiar and subtle 
 type of personality most necessary to understand. All 
 that Loti is and has been is gathered up and fore- 
 shadowed in the child. Exquisite sensitiveness to im- 
 pressions whether of body or soul, the egotism of a na- 
 ture much occupied with its own subjective feelings, a 
 being atune in response to the haunting melody of the 
 sunset, and the vague mystery of the seas, a subtle melan- 
 choly that comes from the predominance of feeling over 
 masculine power of action, leading one to drift like 
 Francesca with the winds of emotion, terrible or sweet, 
 rather than to fix the tide of the universe in the center of 
 a forceful deed — all these qualities are in the dreams~~of 
 the child as in the life of the man. And the style? — 
 dreamy, suggestive, melodious, flowing on and on with 
 its exquisite music . . . ." 
 
 Later in the same chapter from which the passage in 
 the reader is taken Loti comments on the experience de- 
 scribed, thus: 
 
 154 
 
"Because of my mother alone have I been able to keep 
 intact the faith of my early days. . . I cannot very well 
 understand why the vision of my mother near my bed of 
 sickness should that morning have impressed me so 
 vividly, for she was nearly always with me. It all seems 
 very mysterious; it is as if at that particular moment she 
 was for the first time revealed to me. 
 
 'And why among the treasured playthings of my child- 
 hood has the tiny watering-pot taken on the value and 
 sacred dignity of a relic? So much so indeed that when 
 I am far distant on the ocean, in hours of danger, I 
 think of it with tenderness, and see it in the place where 
 it has lain for years, in the little bureau, never opened, 
 mixed in with broken toys; and should it disappear I 
 would feel as if I had lost an amulet that could not be 
 replaced. 
 
 "And the simple shawl of lilac barege, found recently 
 among some old clothing laid aside to be given to the 
 poor, why have I put it away as carefully as if it were a 
 priceless object? Because in its color (now faded), in 
 its quaint Indian pattern and tiny bouquets of violets, I 
 still find an emanation from my mother; I believe that I 
 borrow therefrom a holy calm and sweet confidence that 
 is almost a faith. And mingled in with the other feelings 
 there is perhaps a melancholy regret for those May 
 mornings of long ago that seemed so much brighter than 
 are those of to-day. . . ^ . But this chapter will cer- 
 tainly seem ridiculous to those who are strangers to an 
 all absorbing love, they will not be able to imagine that 
 T have a deep pity to exchange for their cynical smiles." 
 —Barege. A thin gauze-like fabric. 
 
 MY SHADOW 
 
 (Stevenson — II — 73.) It is not the purpose of the au- 
 thor to give the child anything like a scientific explana- 
 tion of a shadow. The main point to be accomplished is 
 to arouse in the child's mind a keen interest in this ca- 
 pricious little image of himself. A certain sense of mys- 
 tery combined with the humor of its antics, makes it a 
 
 155 
 
fascinating object. Every child has had sufficient experi- 
 ence with shadows to draw upon his imagination for a 
 key to the poem. Arrant, genuine or thorough. 
 
 NAME OF OLD GLORY 
 
 (Riley — V — 97.) What is the question asked of Old 
 Glory in the first stanza? What reply came? In the 
 second and third stanzas what questions and what replies? 
 What can you infer as to the person asking the question? 
 Does the reply come before the speaker has reached the 
 climax of his patriotic fervor? Do you suppose that means 
 that Old Glory's significance is hidden except to the 
 patriot? Does the questioner elaborate more than the 
 mere beauty of the flag before the answer comes? How 
 does the language of Old Glory's reply differ from that of 
 the questioner? What does the "shake of the voice" indi- 
 cate? Commit Old Glory's answer. What do you notice 
 about the regularity of the metre and stanza structure? 
 
 NESBIT, WILBUR DICK 
 
 Born at Xenia, Ohio, September 16, 1871. Journalist 
 and humorist, at present engaged on Chicago papers. He 
 writes with the facility of the expert journalist, and his 
 verse turned out under these conditions is more or less 
 transient in interest, but is always stimulating and of 
 much merit. He is the author of "The Gentleman Rag- 
 man," "The Land of Make-Believe and other Christmas 
 Poems," and other volumes. ** 
 
 Selection: V, 279. 
 
 NEW KENTUCKY HOME, THE 
 
 (Perry — IV — 212.) This selection is taken from a book 
 called "The Story of Daniel Boone." Boone had spent 
 five years as a trapper wandering through the wild region 
 of Kentucky. In the year 1773, he had attempted leading 
 a few families into this region, but was turned back by 
 an attack from the Indians. This was the occasion of the 
 death of the eldest son. How did Daniel Boone show 
 his courage and ability as a leader on this trip to Boones- 
 borough? Palisade, a fence made of strong stakes firmly 
 
 156 
 
set in the ground forming an enclosure or fortification. — 
 What was the great charm of this new home? Describe 
 their method of furnishing protection to themselves. 
 Browsed, fed upon, grazed. — What diversions had this 
 little colony? What was the tragedy of this year? How 
 were their physical needs provided for? Salt licks, places 
 where animals go to lick salt from salt deposits that have 
 cropped up. — What was the result of Daniel Boone's little 
 settlement? What kind of men and women does it take 
 to make such ventures? 
 
 NEW KIND OF DINNER, A 
 
 (Sharp — III — 108.) Why was the toad put in a wide- 
 mouthed bottle to thaw out? "Hyla" is the generic name 
 of the tree toad, hyla being a Greek word meaning wood. 
 How does the tree-toad sleep? How often does it shed 
 its skin? What does it eat? Is there a difference be- 
 tween frogs and toads? What service do toads render 
 vegetation? This lesson is of necessity one in zoology 
 rather than one in literature. A few more facts concern- 
 ing toads will increase the interest. 
 
 NEW TEACHER, THE 
 
 (Eggleston — IV — 19.) This is an incident taken from 
 "The Hoosier Schoolboy" by this author. What was the 
 first impression made by the new teacher upon the 
 school? What was the result? How were his methods 
 different from those of his predecessor? What personal 
 rebuke did he give Riley? What was the occasion? Was 
 he justified? What was the result? What speech of 
 Riley justified the teacher in punishing him in the 
 manner he did? When did the sympathy of the school 
 begin to turn in favor of the teacher? Was Riley's con- 
 duct contrary to the one rule of the teacher? Does the 
 manner of his punishment satisfy your sense of justice? 
 What quality in the teacher made him equal to the 
 situation? 
 
 NEWTON 
 
 (Hawthorne — IV — 78.) This selection is taken from the 
 sketch of Newton, prepared for young people by Haw- 
 
 157 
 
thorne. Fix in mind the facts of Newton's life. What 
 traits of character were prominent in him? How are these 
 traits illustrated? What were some of Newton's impor- 
 tant contributions to science? 
 
 NICHOLSON, MEREDITH 
 
 Born at Crawfordsville, Ind., December 9, 1866. For 
 several years he was on the staff of "The Indianapolis 
 News." From 1898 to 1901 he was engaged in business 
 in Colorado, since when he has devoted himself to liter- 
 ary work in Indianapolis. In 1891 he published a small 
 volume of poems, but in recent years has confined him- 
 self mainly to fiction. Several of his volumes have been 
 very popular. Among them are "The House of a Thous- 
 and Candles," "The Port of Missing Men," and "The Lit- 
 tle Red Jug at Kildare." 
 
 Selection: V, 210. 
 
 NIGHT BEFORE THANKSGIVING, THE 
 
 (Jewett — V — 52.) Describe clearly the situation of 
 Mrs. Robb. Why was she so sad? What reminiscences 
 did she engage in? Do you understand why she did not 
 want to go to the town farm? Why was she glad that 
 those she loved did not know of her situation? Tell 
 clearly what happened. What do you think of John 
 Harris? What is meant by "her own folks had come"? 
 Why was the night before Thanksgiving an appropriate 
 time for all this to take place? 
 
 NIGHT WIND, THE 
 
 (Field — III — 57.) To the imaginative child the night 
 wind has many nameless terrors, all of which are cleverly 
 put in this poem for children. Be sure to impress the 
 figure of the night brooding outside, and when questioned 
 as to whom it wants, answering in its ghostly way: 
 "Yooooooo"! This feeling is intensified in the second 
 stanza by the child's recalling that his mother had said 
 when the wind went wailing so, somebody had been bad. 
 Is there a suggestion in this stanza of an uneasy con- 
 science? Ruefullest, most sorrowful. — Is not the tension 
 
 158 
 
relieved in the last stanza? What is responsible for it? 
 Pick out all the expressions that describe the tone or 
 effect of the wind. Much of the effect in reading will de- 
 pend on your success in imitating the wind. 
 
 NOBILITY 
 
 (Cary — IV — 105.) This is one of the poems that is well 
 worth committing. What was the old idea of noble birth? 
 Could one be held responsible then for not belonging to 
 the nobility? How have our ideals changed? Does the 
 change in ideals change the question of responsibility? 
 Is it easy to get into the habit of "seeming"? We call 
 this "posing." Who is really cheated in such a process? 
 What is the authors' idea of the really kingly virtues? — 
 Mete. Measure. — How do the first two lines of the fourth 
 stanza have a connection with the last two? "Blisses" is 
 used in the sense of pleasures or happiness. Do people 
 try to buy happiness? How does the author think we 
 are to gain happiness? Is it natural to wish to see re- 
 sults of efforts? Does the poet think results are always 
 a complete measure of worth? How does the last stanza 
 bear upon this question? 
 
 NOBLE NATURE, THE 
 
 (Jonson— V— 234.) What do you understand the test 
 of nobility of nature is, as presented in this poem? There 
 k are two methods of illustrating a point, one consists in 
 showing what it is not and the other in showing in a 
 positive way what it is. What negative illustrations does 
 Jonson use? What positive one? Show how each of 
 these is appropriate. — Just is used in the sense of com- 
 plete or perfect. 
 
 NO BOY KNOWS 
 
 (Riley — IV — 33.) This poem testifies to the author's 
 deep sympathy with child nature. It touches upon the 
 mysteries of sleep, and recalls to mind the dim little 
 borderland that every child has crossed over and over, 
 and that will remain to the end, an unexplored country 
 
 159 
 
between waking and dreaming. The poet tells of many 
 things the boy knows of the world about him. The story 
 of the ice and snow and rain, in their ever changing 
 rounds is not easy to understand. Hence the poet 
 would not have us believe it was on account of stupid- 
 ity that "no boy knows when he goes to sleep." In 
 the third stanza, there are mentioned a number of subtle 
 things a boy may know, a comprehension of time is 
 one thing; the various calls of his friends and a sense 
 of direction that finds the gates after dark. In the third 
 and fourth lines of the third stanza why does the poet 
 speak of a "realm divine"? What picture would you 
 paint, if you were asked to illustrate these lines? In the 
 last stanza there is expressed the author's own psycholo- 
 gical experience when a boy. He follows himself clear 
 up to the last conscious moment before sleep comes. If 
 an artist were to attempt to express this stanza on can- 
 vas, what would it likely be? What is the significance 
 of "fragrant" in the second line? What is meant by 
 "dewy odors"? 
 
 NOLAN'S SPEECH 
 
 (Hale — V — 13.) This brief passage is taken from Dr. 
 Hale's "A Man Without a Country." Philip Nolan, smart- 
 ing from some sense of real or fancied wrong, ex- 
 pressed the wish that he might never hear the name of 
 his country mentioned again. He is condemned to the 
 fate he wished for in his anger, and after years of bitter 
 suffering and when near the end, he speaks the words 
 given here, as the lesson it all has taught him. — What 
 does he think loyalty to country means? What do you 
 think he means by saying we should "never look at 
 another flag"? 
 
 NOSE AND EYES 
 
 (Cowper — IV — 184.) Was there in reality any ground 
 for a contest between Nose and Eyes? What spirit was 
 at the bottom of the dispute? In the trial who was 
 lawyer and who was judge? What three arguments did 
 Tongue^make? Did they seem legally sound? What 
 
 160 
 
was the matter with the arguments for Eyes? What was 
 the sentence? Was there any justice in these proceed' 
 ings? Were the proceedings carried on according to the. 
 letter or the spirit of justice? 
 
 O CAPTAIN! MY CAPTAIN! 
 
 (Whitman — 1865 — V — 198.) The splendid analysis 
 which follows is quoted (practically complete) from tht 
 Spring, 1899, number of "Expression": "In many respects 
 this poem of Whitman on the death of Lincoln, is one. 
 of the finest of American lyrics. The intensity and 
 genuineness of its feeling, the transition from idea to 
 idea, the movement of the thought, and the sustain- 
 ing of the same imaginative figure and situation, is some- 
 thing rarely found . . . The general picture presented 
 to us is that of a ship which has come through storm and 
 battle, having won the prize for which it sailed. It is 
 not necessary to make it too much of an allegorical repre- 
 sentation of the ship of state. It is imaginative and sug- 
 gestive, and gives a metaphorical realization of the fact 
 'We are told,' says Mr. Crothers, 'the news of the assas- 
 sination of Lincoln as a man on the street might tell it. 
 It comes to us through suggestion. We are made to feel 
 a mood, not to listen to the description of an event. 
 There is symbolism, suggestion, color, mystery. The 
 poem opens with an exultant spirit of triumph at the re- 
 sults of the war; and then suddenly, with a change in the 
 movement, this whole passion turns to the dead captain 
 upon the deck. Then we have a dazed condition, a con- 
 flict between facts and feeling, an expression of inability 
 to realize what has happened. "I cannot," said Emerson, 
 at the death of Garrison, "conceive any end to myself." 
 The whole second stanza sustains more or less this at- 
 mosphere as far as "This arm beneath your head." Then 
 the bewildered "It is some dream," indicates the climax of 
 this attitude, toward death. This statement must be 
 taken not as a surprise, but as a bewildering shock. The 
 conflict, through the whole stanza, is between the head 
 that knows and the heart that cannot realize. At the 
 beginning of the third stanza is a transition to a deeper 
 
 161 
 
realization of what has happened. The few facts that 
 are mentioned are simply those little moments in which 
 the heart comes to realize the situation. A student once 
 asked, "Would you not express surprise when you say, 
 'My captain does not answer"?- No; to accentuate this 
 would spoil the spirit of this poem, one great feature of 
 which is the alternation between the head and the heart. 
 The head knows that Lincoln is dead; but the heart, the 
 instinct and feeling cannot believe what the intellect 
 perceives. Whitman, with marvelous insight and genuine 
 feeling, has realized this and truthfully portrayed that 
 the instinct and belief of the heart cannot feel death as 
 real. In the third line is a return to the victorious ex- 
 ulation which continues to its climax in "Ring, O bells." 
 Then all after the word "but" sinks into intense sorrow 
 and realization of the great loss. Note the strong con- 
 trasts in the poem, also the vividness of the pictures, and 
 yet the consistency of everything with one general im- 
 aginative situation. While parts of the poem are dra- 
 matic, still on account of this depth of unity and reliza- 
 tion of one feeling or one idea, it is a lyric, and a lyric 
 of a high order." 
 
 OLD JESSIE'S CHRISTMAS 
 
 (Smith — IV — 107.) Did the teacher have Old Jessie in 
 mind when she first spoke of the extra money in the col- 
 lection? Why did she not speak of it at once? Was it en- 
 tirely for the sake of the horse that Miss Martin proposed 
 this plan? Would it have been more in keeping with 
 the Christmas spirit to have spent the money on some 
 worthy person? What made the horse's condition seem 
 so pathetic as she stopped at the. foot of the hill? How 
 did the children get possession of the horse? Did the 
 peddler's attitude change? What was responsible for it? 
 What was the fate of Old Jessie? Why did she deserve 
 this treatment? What is our obligation to worn-out 
 animals? 
 OLD OAKEN BUCKET, THE 
 
 (Woodworth— IV— 139.) For the benefit of those who 
 have never seen a well with a sweep describe one as ac- 
 
 162 
 
curately as possible. Explain "deep-tangled" as applied 
 to wild-wood; "iron-bound" and "moss-covered" as ap- 
 plied to bucket. Why is water a fit emblem of truth? Ex- 
 plain the phrase "poised on the curb." What is meant by a 
 "full blushing goblet"? In the line "the brightest that 
 beauty or revelry sips," do the words "beauty" and 
 "revelry" have the abstract meaning or do they refer to 
 people who are beautiful and people who engage in 
 revelry? Habitation. Dwelling. — Intrusively. With force? 
 without invitation. 
 
 OLD SILVER 
 
 (Ford — V — 281.) "Horses Nine" is one of the best col- 
 lections of horse stories ever written and this story of Old 
 Silver is one of the most dramatic of the lot. Incidentally 
 notice that you are told a great many things about the 
 "fire laddies" and what they do. Notice that the story is 
 in three parts: (1) The way things were when Old Silver 
 was in perfect condition, (2) when the misfortune came 
 to his leg, (3) when the Gray Horse Truck passed him, at 
 his lowly work, on the way to a fire. Tell clearly the 
 story using this analysis for topics. Does the author 
 make you feel that Old Silver really had "feelings" on 
 the matters told of? Are you glad he got his old place 
 back again? Those living in cities will likely understand 
 all the technical terms used in the story. In other classes 
 there will be someone who has watched the fire wagons 
 at some time or other and can furnish what information 
 is needed. In nearly every case the context will make 
 the strange words clear. 
 
 ON HIS BLINDNESS 
 
 (Milton— V— 38.) Milton became totally blind in 1652, 
 when he was 44 years of age, though his eyesight began 
 to fail several years before. The first eight lines present 
 a condition, how he feels when he thinks of his failure to 
 do all he would like to do in the work of life, and some- 
 what impatiently asks whether God could reasonably "ex- 
 act day-labor" from a blind man. But a higher mood suc- 
 ceeds and the voice of Patience points the way to a serene 
 
 163 
 
acceptance of his unfortunate affliction and enforced in- 
 activity. And this serene mood rises to a climax in the 
 closing line, one of the most famous in Milton: 
 "They also serve who only stand and wait." 
 Milton's language is condensed and full of thought, 
 and it will be well to expand the first portion of the son- 
 net in a paraphrase until you see clearly what he means. 
 Read the parable of the talents in the 24th chapter of 
 Matthew, beginning with the 14th verse. I fondly ask. I 
 foolishly, ask. — Yoke. Burden. What is the standard of 
 service as you understand it from this sonnet? 
 
 ONE, TWO, THREE 
 
 (Bunner — II — 164.) This little poem expresses the 
 sympathy that exists between the two physically helpless 
 people, — the old lady and the little boy. It should awaken 
 keen sympathy for both on the part of the reader and 
 keen interest in their successful attempt to make their 
 own world when shut off from the activity of the world 
 about them. Why is "old" repeated so often in line 1? 
 (To deepen the impression of age.) How old was the 
 boy? What was the bond of sympathy between them? 
 Where were they? Describe the game they were playing. 
 How is it different from this game as you play it? Why 
 did they not play in the usual way? What is meant by 
 "warm and warmer?" (Close and closer to the right 
 answer.) Notice in stanza 8 the reference to the child's 
 mother. Wee. Very small, tiny. The last stanza is a kind 
 of summary of the whole. What do you think of the old 
 lady? What feeling have you for the little boy? Do you 
 wish he could run and jump as you can? Are you 
 glad he can be so happy anyway? (The game of guessing 
 is so well known over the country as a form -of enter- 
 tainment among the young folks that some one in the 
 class will be apt to know about it and it can be utilized 
 to awaken interest in this story and connect it more 
 closely with the pupil's experience.) 
 ONLY ONE 
 
 (Cooper— III— 197.) In this beautiful little poem, the 
 author prepares a climax by presenting a series of con- 
 
 164 
 
Irasts. He draws upon nature with her manifold beauty 
 to show the multiplicity of forms. Stars, shells, birds, 
 bees, dewdrops, lambs and butterflies, all exist in numbers. 
 Yet there is, in spite of this prodigality of nature, but one 
 mother the wide world over. The directness of the poem 
 makes it easily understood by the child. 
 
 ON THE GRASSHOPPER AND THE CRICKET 
 
 (Keats— i3i6—V— 77.) This sonnet was written at 
 Leigh Hunt's cottage on the 30th of December, 1816. "C, 
 Cowden Clarke enlightens us as to the origin of this 
 sonnet. On one occasion when Leigh Hunt, Clarke and 
 Keats were together, the conversation turned upon the 
 grasshopper, and Hunt proposed to Keats that each 
 should write a sonnet on the subject then and there. 
 Keats Von as to time,' but it may be fairly questioned 
 whether Hunt's sonnet is not the better of the two." 
 (Pancoast.) Observe that the first line states the real 
 theme, which is illustrated by references to the two in- 
 sects named. — A sonnet has fourteen lines falling into two 
 groups, one of eight, lines called an octet and one of six 
 lines called a sestet. Notice that each group in this son- 
 net begins with a line expressing the theme. The octet 
 contrasts the grasshopper's ceaseless utterance of delights 
 with the weariness of the birds in summer, while the sestet 
 deals with the cricket's song in winter, which sounds 
 enough like the grasshopper's to carry the drowsy listener 
 in imagination back to the "grassy hills." 
 
 OPPORTUNITY 
 
 (Sill — V — 62.) What did the poet behold, or see in a 
 vision? How did the battle seem to be going, for or 
 against the prince? How can you tell? Why did the 
 craven break his sword and leave the field? What did 
 the prince do? Contrast his action with the craven's. 
 What is the truth in regard to opportunity that the poem 
 sets forth? Is it the fine weapon and favorable situation 
 that count for most? Or, is it rather something in the 
 spirit of the fighter, who is willing to use any weapon at 
 hand? — Lowering. Scowling, or looking sullen. Be care- 
 
 165 
 
ful about the pronunciation of this word. — Sore bestead. 
 
 Badly situated. — A blue blade means one that is very finely 
 
 tempered. 
 
 O'REILLY, JOHN BOYLE 
 
 Born at Dowth Castle, Ireland, June 28, 1844. Convicted 
 of high treason in 1866 as an agent of the Fenian Society 
 and after serving one year of a twenty year's sentence in 
 Australia he escaped and came to the United States in 
 1869. He was connected with the "Boston Pilot" from 
 1870 to the time of his death, August 10, 1890. Is best 
 known by his poetry. 
 
 Selections: V, 84, 292. 
 ORPHEUS AND HIS LUTE 
 
 (Shakespeare — V — 178.) This splendid lyric, having the 
 power of music as its theme, is found in Henry VIII, 
 Act III, Scene 1. Orpheus, according to the old myth, 
 was a famous musician of Thrace. Apollo presented him 
 with the lyre and the muses taught him its uses so that 
 he enchanted with his music not only the wild beasts, but 
 trees and rocks so that they moved from their places to 
 follow the sound of his golden harp. — What effects does 
 Shakespeare say Orpheus produced with his lute? What 
 does this show about music? What conclusion in the 
 last two lines as to the effect on care and grief? (The 
 song is sung in the play to Queen Katherine by one of 
 her attendants at a time when she is bowed down in dis- 
 tress.) — As sun. As (if) sun. — Lay by. Lay down, or 
 fell asleep. — Killing is an adjective. 
 
 OUR FLAG 
 
 (Anon.— II— 118.) What is the English flag like? What 
 the German? How many stars and how many stripes in 
 the American flag? Hue, color. — Why should we love our 
 flag and cheer for it? Why do we call it our country's 
 flag? 
 
 OUR NATIONAL BANNER 
 
 (Everett— V— 311.) An apostrophe to the flag. Such 
 a figure involves the idea of direct address, and grows out 
 of a feeling so strong that it in a measure personifies the 
 
 166 
 
object. What are the hopes expressed regarding the flag? 
 Compare with other patriotic selections in the reader. 
 Which one seems to you best to express what the flag 
 stand for? — Intented. Covered with tents. 
 
 OUR NATION'S CROWN 
 
 (Harrison — V — 309.) What are the points in which our 
 nation is great? What is the condition on which we take 
 these gifts? What considerations lead the speaker to 
 have faith in the future? Is the census a sure test of the 
 comparative honor that should be given to the states? 
 Why not? — Placed... a diadem. Given us the leadership. 
 
 OUT-DOOR PUSSIES, THE 
 
 (Anon. — II — 153.) Do real pussies like water on them? 
 Do the pussy willows? Where do pussies go when it rains? 
 Where do pussy willows live? Can they leave the tree as 
 the pussy leaves the barn and then go back to it at night? 
 Commit this poem, and in so doing bring out the swaying 
 rhythm in it. 
 
 OWL, THE 
 
 (Tennyson — IV — 174.) Here is a poem in which the 
 sound and imagery exactly balance the thought. The owl 
 is a gruesome subject. It has been considered a bird of 
 ill-omen and its ways the ways of mystery. Even its 
 note has an uncanny ring to it. Tennyson makes a fitting 
 background for such a theme by a description of the 
 early dawn. "When cats run home and light is come, 
 And dew is cold upon the ground," gives a cheerless set- 
 ting to the picture. The repetition of the fourth line, which 
 refers to the wind mill, gives further accent to the in- 
 harmonious atmosphere. The last two lines are the es- 
 sence of the picture. This clearly defined image against 
 the foregoing background is a masterpiece. The expres- 
 sion "warming his five wits" likely means meditating. It 
 is probable he has been abroad in search of prey and since 
 he depends upon stealth and keen senses, the expression 
 "warming his five wits," may mean renewing his energies. 
 The second stanza is a trifle lighter in tone. The picture 
 
 167 
 
of the merry milk maids and the suggestion of the new- 
 mown hay bring the imagination a little farther from 
 the gloom of the early dawn. But the sounds of the click 
 of the gate and the cock's roundelay are still in keeping 
 with the picture of the belfry. Why has the owl been 
 considered the symbol of wisdom? Read this poem aloud 
 several times, and try to catch the harmony in its discords. 
 
 PAGE, THOMAS NELSON 
 
 Born at Oakland, Va., April 23, 1853; studied law and 
 engaged in its practice at Richmond, Va. At present he 
 lives in Washington. His first story of prominence, 
 "Marse Chan,'"' appeared in the Century in 1884. His 
 published books include "In Ole Virginia," "Two Little 
 Confederates," "Red Rock," "Santa Claus's Partner," and 
 "Gordon Keith." 
 
 Selections: III, 94; IV, 5. 
 
 PANDORA 
 
 (Anon. — II— 25.) What do we call that quality in Pan- 
 dora that made her wish to see what was in the box? 
 Did her brother wish to see in the box? How did he 
 make it easy for himself to let the box alone? How did 
 Pandora make it hard for herself? Did the bees and 
 wasps sting Pandora alone? Did it seem fair? What 
 else was in the box? Is it fitting that Hope should be 
 beautiful? 
 
 PARKMAN, FRANCIS 
 
 Born in Boston, Mass., September 16, 1823, graduated 
 at Harvard, studied law, but soon gave it up and began 
 work upon the story of the French in America, which 
 made his life work. The succession of volumes which he 
 lived to complete, when taken together, form a complete 
 account of this important factor in our history. Parkman 
 visited nearly all of the places described in his historical 
 works and is thus able to present his scenes much more 
 clearly than one who must depend upon maps and the 
 imagination. Died at Jamaica Plains, a suburb of Boston, 
 
 168 
 
November 8, 1893. His works are published by Little, 
 Brown & Co., Boston, Mass. 
 Selection: V, 308. 
 
 PAST, THE 
 
 (Timrod — V — 233.) What truth about the meaning of 
 deeds is stated in stanza 1? What application does he 
 make of this principle in regard to our attitude toward 
 the Past? What are the images, or illustrations, by which, 
 in stanzas 3, 4 and 5, he illustrates the significance of the 
 Past? What modification does the last stanza make in 
 regard to the statement about Grief? Which impresses 
 you most about this poem the seriousness of the thought, 
 or the beauty of the imagery and the music of the lan- 
 guage? 
 
 PAUL REVERE'S RIDE 
 
 (Curtis — V — 270.) Fix clearly in mind all the facts 
 that led to the ride. What importance does the speaker 
 find in the fact that the belfry of the old North Church 
 still stands? Notice the fine description of the early 
 morning ride, with signs of'the sunrise visible. How easy 
 would it have been to stop the news? What comparison 
 is worked out in the last paragraph? — Son of Liberty. A 
 patriotic association to forward the cause of the colonies 
 was called the Sons of Liberty. — "One if by land, etc." A 
 line from Longfellow's "Ride of Paul Revere." "How Far, 
 etc." A line from "The Merchant of Venice." — Pharos. 
 A celebrated lighthouse opposite Alexandria, one of the 
 seven wonders of the world. Explain the use of the word 
 by Curtis. — Pan. The great god of paganism. The legend 
 runs to the effect that at the moment Christ was born 
 Pan died, and his followers wailed his loss as the Angels 
 rejoiced at the coming of Christ. 
 
 PEABODY, JOSEPHINE PRESTON 
 
 Born in New York, educated at Radcliffe. Married Pro- 
 fessor L. S. Marks. Among her writings are "Old Greek 
 Folk Stories," "Marlowe, a Drama," and "The Singing 
 Leaves." 
 
 Selection: V, I. 
 
 169 
 
PEACOCK, THOMAS LOVE 
 
 Born at Weymouth, England, October 18, 1785. Most 
 of his life was spent in the service of the East India Com- 
 pany. His novels are satirical in nature, genial in tone 
 and elegant in style. Many charming ballads are scattered 
 through his books. Some of the more importat titles are 
 ''Headlong Hall," "Crotchet Castle" and "Gryll Grange." 
 He died at Halliford, January 23, 1866. 
 
 Selection: IV, 23. 
 
 PEARY, JOSEPHINE D. 
 
 Wife of Commander Peary of Arctic fame. Author of 
 "Children of the Arctic" and "The Snow Baby." 
 Selection: III, 68. 
 
 PELTIER, FLORENCE 
 
 Author of a juvenile book entitled "A Japanese Gar- 
 land," published by Lothrop, Lee & Shephard Co., Boston. 
 Selection: III, 188. 
 
 PERFECT TRIBUTE, THE 
 
 (Andrews — V — 347.) This story is the best attempt yet 
 made to treat Abraham Lincoln from an imaginative 
 point of view. Around what event does it center? Study 
 carefully the speech made by Lincoln at Gettysburg. 
 Note the explanations given of its greatness by the 
 wounded soldier. Do these all seem to you to be justifi- 
 able? Describe the occasion of the delivery of the speech. 
 Why was Lincoln so disappointed? What made him 
 change his mind about the matter? How did he happen 
 to go to the hospital? Tell what took place there? Why 
 did Lincoln conceal his identity? — This selection is full 
 of fine figurative expressions. Select and read some of 
 the most beautiful. — In beginning your study read the 
 story straight through in order to get the full force of 
 the narrative. The ability to tell a story as dramatically 
 and with as little waste of material, is not common and 
 these qualities should be clearly realized. 
 
 170 
 
PERRY, FRANCES M. 
 
 An instructor in English in Wellesley College. She is 
 the author of helpful text-books in English, such as "An 
 Introductory Course in Exposition" and "A Handbook of 
 Punctuation." She has also written "The Story of Daniel 
 Boone," an interesting book for juveniles. Miss Perry was 
 born in Indiana. 
 
 Selection: IV, 212. 
 
 PHAETHON 
 
 (Peabody — V — 1.) This selection is taken from "Old 
 Greek Folk Stories," No. 114 of the Riverside Literature 
 Series. The myths of Greece and Rome form the most 
 important body of such material in the world, and the 
 more important of them should be familiar to the child 
 from his early years. We know the scientific causes for 
 most of the facts of the natural world, but it is not hard to 
 realize that in more primitive times people would invent 
 stories to account for everything that they could not un- 
 derstand. Why it should get so hot in one portion of the 
 year was a mystery, but here is the way they explained the 
 mastery. 
 
 Notice that the first paragraph states what all the rest 
 elaborates. What led to this disastrous happening? How 
 did Phaethon test his parentage? Describe what Phaethon 
 saw at his father's palace? What promise did Phoebus 
 make? Why could be not back out when Phaethon asked 
 what he did? Describe the journey. What unusual things 
 took place? How was complete disaster averted? How 
 did the gods show their pity for the mourners? — The 
 identity of the proper names and their relations to each 
 other are given in the context. — Signs of the Zodiac. The 
 zodiac is a belt of twelve constellations along either side 
 of the ecliptic. The sun, moon and planets known to the 
 ancients were always found in this belt. For names and 
 signs see the front pages of an almanac. — Styx. A mighty 
 river of the lower world, across which the souls of the 
 dead were taken on their journey to Hades. The gods 
 swore by this river and such an oath had peculiar solem- 
 
 171 
 
nity. — Ambrosia. Name of the food both of the gods and 
 of their horses. It conferred immortality. — Philter. Used 
 here to mean a kind of salve or ointment. — Serpent. The 
 name of a constellation in the northern hemisphere. — 
 Nymphs. The general name for the inhabiting deities of 
 places and natural objects. Usually applied in a specific 
 way to water spirits. The dryads were the forest and 
 tree nymphs, 
 
 PIED PIPER OF HAMELIN, THE 
 
 (Browning— II — 30.) It may be of interest to the child 
 to know that this poem was written originally to enter- 
 tain a little sick child, son of the famous actor, Macready. 
 Pied, mottled with various colors. — Read the description 
 of the Piper in the first stanza of poetry, and tell why he 
 was called the Pied Piper? What did the Mayor promise 
 the Pied Piper if he would free the town from rats? 
 Guilder, about forty cents. — Name the different kinds of 
 rats that followed the Piper. Brawny, strong. — Tawny, 
 brownish yellow. — What method did he take to get rid 
 of the rats? Did the Mayor keep his agreement? What 
 method of revenge did the Piper take? What became of 
 the children? How did the people of Hamelin know what 
 happened to the children? What did the little lame boy 
 say about the music? What kind of a land did he say 
 the Piper lead them to? This poem is sufficiently dra- 
 matized so that the children can act it. No more certain 
 method of getting definite and lasting impressions can be 
 employed than this. 
 
 PIERSON, CLARA DILLINGHAM 
 
 Author of a book for children called "Among the Meadow 
 People," published by E. P. Dutton & Co., New York 
 City. 
 
 Selection: II, 45. 
 
 PIG BROTHER, THE 
 
 ((Richards — II — 86.) Is it easy for a child to get into 
 untidy habits? Is it hard to break such habits? Pinafore, 
 a sleeveless apron. — Nursery, a play room for children. — 
 
 172 
 
What do you think the Tidy Angel found to do in the 
 nursery? Is the squirrel a careful animal as to its habits? 
 Whisking, moving with a light sweeping movement. — Is 
 the wren a tidy being? Impertinence, impudence. — How 
 did the wren prove the child no brother of his? Why do 
 you think the wren ruffled his feathers? Haughtily, with 
 pride. — How does a cat wash itself? How did Tommy 
 Cat prove that the untidy child was no brother of his? 
 How did the child feel when the pig called him "brother"? 
 What did the pig ask him to do? How did the pig prove 
 the child to be his brother? What did he mean when he 
 told the child "to tell it to the hens"? Pig-wash, slop or 
 swill.— Do you think the child was pleased with the 
 promise of swill for his supper? What was there in the 
 pig's promise that was just like a pig? What choice did 
 the tidy angel give the child? What did he take? * What 
 comfort did the pig get out of it? 
 PILPAY 
 
 Sometimes written Bidpai. The reputed author of a 
 collection of fables, the oldest version of which is from the 
 Arabic. Modern scholarship, however, has been able to 
 trace these fables to earlier sources. They are full of a 
 shrewd, practical wisdom in spite of their extreme sim- 
 plicity. A version of one of these fables is given in the 
 second reader, page 22. 
 
 PINE-TREE SHILLINGS, THE 
 
 (Hawthorne — IV — 122.) This selection is chapter VI of 
 Part I of "Grandfather's Chair," omitting the connecting 
 passages. George Parsons Lathrop in closing his intro- 
 duction to this collection in the Riverside edition says: 
 " 'The Pine-Tree Shillings,' by the universal currency 
 which they have enjoyed in school-readers and elsewhere, 
 ought effectually to dispel the frequently expressed opinion 
 that Hawthorne failed to attain general popularity." 
 Hawthorne says in his preface: " Nothing in the ensu- 
 ing pages can be termed fictitious. The author, it is true, 
 has sometimes assumed the license of filling up the out- 
 line of history with details for which he has none but 
 
 173 
 
imaginative authority, but which, he hopes, do not violate 
 nor give a false coloring to the truth." — Grandfather's 
 Chair. A famous old chair brought over from England 
 by an early settler. The account of its fortunes as it 
 passed from owner to owner forms the uniting thread 
 in the stories. — The pupil should catch the spirit of hu- 
 mor that pervades the selection. In telling the story in 
 his own words or in reading it orally the teacher should 
 see, if possible, that the pupil does not miss this fine 
 quality which makes Hawthorne's stories for children such 
 capital ones. Tell the story of the selection under these 
 two heads: I. The Money System of the Colonies; 2. 
 The Surprise of the Wedding-gift. Many of the quaint 
 old customs of Puritan life, and of life generally in the 
 colonies, are touched upon in the story and if the teacher 
 has additional material at hand may be enlarged upon to 
 good advantage in talking the story over with the pupils. 
 A reading of something like Chapter X of Lodge's "Eng- 
 lish Colonies in America" would be helpful. — Wampum. 
 Beads made of shells and used for money. — Quintal. A 
 hundred-weight. — Buccaneer. A term applied especially 
 to those who made depredations en the Spanish in Amer- 
 ica during the 17th and 18th centuries. — Smallclothes. 
 Knee breeches. 
 
 PLANT A TREE 
 
 (Larcom — V — 156.) There is a two-fold meaning to be 
 followed in this poem, a literal and a figurative. It is quite 
 evident that the poet means to encourage the actual plant- 
 ing of trees for the very love of them and for what they 
 give of beauty and comfort to living things. But with 
 each benefit to be derived from the planting of a tree, 
 there is a subtle spiritual truth implied that has a more 
 general bearing on life. In the first stanza, the joy of 
 growing things is expressed, and with it the joy of ex- 
 panding life and the spirit's mighty reaches into infinity. 
 What is the bearing of the lines "From the clods of time 
 unto heaven's sublime" upon the foregoing interpretation? 
 In the second stanza give both the literal and the figura- 
 
 174 
 
tive interpretation. Cloy, grow stale. — In the third stanza 
 the physical and spiritual results of contact with Nature 
 are given. Jargons, foolish gabble. — Physical relaxation 
 and renewal of energy come to the creature that goes to 
 Nature for its remedies. In the same manner, the spirit 
 expands and the inner wisdom is reinforced by an intimate 
 communion with the source of all things. In the fourth 
 stanza how does the poet make the tree responsible for 
 physical youth? What is there in the tree's processes that 
 suggest immortality? How does the last stanza seem a 
 sort of climax to the poem? What is there in the actual 
 uses of a tree to suggest love? Is it a personal or an 
 impersonal love? What line in the stanza justifies your 
 answer? What does the poet say the reward of planting 
 shall be? Is this true of life in a spiritual sense? 
 
 POLLY FLINDER'S APRON 
 
 (Bingham — III — I.) Are the things we think about 
 very earnestly when we are awake apt to return to us in 
 our dreams? Is it quite natural that Mr. Cotton-stalk 
 should find Polly? Is it surprising he should know she 
 wanted an apron? What did Mr. Cotton-stalk mean by 
 the seeds to be planted for other aprons? When Polly 
 had her cotton picked, where did she have to go? Stile, 
 steps for crossing a fence. — Read the verse of poetry, 
 bearing in mind the buzz and whirr of wheels. What was 
 it that made Polly waken up? How did her dream come 
 true ? 
 
 POLLY'S PRANKS 
 
 (Miller — III — 28.) A cockatoo is a parrot with a crest 
 that can be made to stand up. Cockatoos are very power- 
 ful in beak and claw and sometimes quite mischievous. 
 What faults did the Polly in the story have? As a result 
 of these what was the sentence passed on her? Give as 
 detailed an account as you can of the ruin Polly wrought 
 with the work-basket. What was it that made her so 
 happy? 
 
 POT OF GOLD, THE 
 
 (Anon. — II — 1.) The name Iris means rainbow. Iris 
 
 175 
 
was supposed to be the messenger of the Gods. Why did 
 Iris feel sad when she found the pot of gold had been 
 stolen? Why were the wind's messengers good persons to 
 send to jook for the pot of gold? Why do you think they 
 went to the sea to look for it? Why to the forest? Do 
 ihe trees ever make a sleepy noise? When? How is the 
 poplar tree different from most trees? 
 
 POTTER, BEATRIX 
 
 Author and illustrator of a remarkably attractive and 
 popular series of little books for children. Some of the 
 titles are "The Story of Peter Rabbit," "The Tale of Tom 
 Kitten," "The Tale of Jemima Paddle-Duck," "Ginger and 
 Pickles" and "Flopsy Bunnies." 
 
 Selection: II, 102. 
 
 PRATT, MARA L. 
 
 A writer who has done much in the way of telling his- 
 tory in a form suitable for children or in adapting legend- 
 ary and other material for supplementary reading use. A 
 number of books by her are published by The Educational 
 Publishing Co., Boston. 
 
 Selection: II, 146. 
 
 PRATT, ANNA M. 
 
 Selection: III, 150. 
 
 PRECOCIOUS PIGGY 
 
 (Wood — II — 84.) The selection has no deep meaning, 
 but is valuable largely as a jingle. "Precocious" means 
 developed ahead of its years or unnaturally. Pigs are not 
 said to be gifted with any great degree of intelligence; 
 hence the occasion for considering the feats of Piggy pre- 
 cocious. Oral reading will bring out the peculiar irregu- 
 lar jingle. A sprightly manner of reading should be in- 
 sisted upon, otherwise the spirit of the poem will be lost. 
 
 PRICE, LILLIAN 
 
 A writer of modern juvenile books, among which is 
 "Lads and Lassies of Other Days," from which "Letitia 
 
 176 
 
and the Redcoats" is taken. This is published by Silver, 
 Burdett & Company, Boston. 
 Selection: IV, 132. 
 
 PRINCE AND HIS HORSE, THE 
 
 (Anon.— II— 67.) The King in the lesson was King 
 Phillip of Macedonia and the Prince was his son Alexan- 
 der the Great The name Bucephalus means ox-headed 
 and characterized a certain favorite breed of horses in 
 Thessaly. This horse played an important role in his- 
 tory, there being a town Bucephalia in India near the 
 burial place of the horse, who died during Alexander's In- 
 dian invasion. Do you think whipping horses can make 
 them gentle? What was in the mind of Alexander when 
 he asked permission to manage the horse? What was his 
 promise if he failed? Why did he turn the horse's head 
 to the sun? Why did he let the horse run as fast as he 
 wanted to at first? What was the result of his treatment 
 of the horse? 
 
 PRINCESS AND THE PEA, THE 
 
 (Andersen— III— 32.) Name some of the qualities that 
 you think a real princess would possess? Do you think 
 these were the ones the prince looked for? Was it for- 
 tunate or unfortunate that the princess came in the rain? 
 What test did the old queen put to the princess? Does 
 such delicacy seem a virtue? Could it mean something 
 other than physical sensitiveness? Did the pea play a 
 sufficiently important part to be put in a museum? 
 
 PSALM OF LIFE, A 
 
 (Longfellow— 1838— V— 39-) This poem was written 
 Tuly 26, 1838, on the back of a note of invitation and was 
 published in the "Knickerbocker Magazine" of October, 
 same year. It immediately attracted attention and gained 
 popularity. "Here," says Samuel Longfellow in the "Life," 
 "was a new strain in American poetry. It has perhaps 
 grown too familiar for us to read it as it was read. But 
 if the ideas have become commonplace, it has been well 
 said that it is this poem that has made them so. Those 
 
 177 
 
who remember its first appearance know what wonderful 
 freshness it had. It was copied far and wide. Young 
 men read it with delight; their hearts were stirred by it 
 as by a bugle summons. It roused them to high resolve, 
 and wakened them to a new sense of the meaning and 
 worth of life." 
 
 Let us begin by asking what significance there is in 
 the title and its sub-title— "A Psalm of Life: What the 
 heart of the young man said to the psalmist." The word 
 psalm refers specifically to a hymn or song for use in holy 
 worship and consequently distinguished by exaltation of 
 sentiment and mood. This exaltation we expect to find in 
 the poet's view of life. We have the poet's own word for 
 it that the word psalmist in the sub-title does not refer to 
 either David or Solomon as some have supposed, but to 
 the author himself. We are to think of the poem then 
 as expressing the mood of the higher nature as it rises 
 triumphant over the gloomy suggestions of the lower. It 
 is the clear bugle-blast of strength, the call to duty, the 
 cali to leave behind the darkness of despondency and 
 turn the face toward the light of hope and strenuous en- 
 deavor. In a letter, Longfellow speaks of it as a "voice 
 from my inmost heart at a time when I was rallying from 
 depression." This general purpose of the poem is still 
 further suggested by the lines from Crashaw, prefixed to 
 the first draft but dropped from later editions: 
 
 Life that shall send 
 
 A challenge to the end, 
 
 And when it comes say, Welcome, friend. 
 What are the gloomy thoughts which have brought the 
 mind to a standstill? That "life is but an empty dream, 
 (stanza i); that it. lacks reality (st. i); that "all are of 
 dust, and all turn to dust again" (st. 2); in short, that life 
 has no validity and is not worth the living. What are 
 the propositions and exhortations made by the "heart of 
 the young man" to offset these gloomy thoughts? Since 
 the poem is largely didactic and hortative in its character 
 it does not have the picturesque or story element enter- 
 ing in to such an extent as in some of the other poems 
 
 178 
 
studied. The truths stated and the calls to action given 
 are such as the young man would naturally give in vin- 
 dicating his own position and inciting others to catch 
 step with him. The following may suffice for a brief 
 summary: I. Life is not mere emptiness (st. i), but 
 earnest reality (st. 2). 2. Life does not end at the grave 
 (st. 2). 3. The true purpose of life is growth through 
 action (st. 3). 4. Brevity of time as contrasted with 
 length of time necessary to accomplish any great work 
 [art] (st. 4). 5. Exhortation to heroic action (st. 5). 6. 
 Exhortation to action in the present (st. 6). 7. The in- 
 spiration of great men to noble action (st. 7), and the pos- 
 sibility that we in turn may help others (st. 8). 8. Final 
 exhortation to labor (st. 9). Simpler statements may pos- 
 sibly present themselves for some of these points. Sim- 
 plicity of analysis should always be aimed at. 
 
 How does the speaker arrive at the first thought or 
 principle stated above? This is generally the hardest 
 point in the poem for the pupil to see. The following is 
 quoted as a clear statement of it: "The thought of the 
 first stanza is: Do not say, Life is a dream, for a dream 
 occurs in sleep, and the sleep of the soul is death, in 
 which there are no dreams. Then, again, in a dream 
 things are not; hence life, which is a real thing, is not a 
 dream." What is meant by the word "numbers"? Poetry, 
 since verses in poetry are divided into feet, a certain 
 number of these making a line. Cf. Pope's line: 
 
 I lisped in numbers, for the numbers came. 
 Does the dictionary give this use of "numbers?" Why 
 "mournful numbers?" Why "empty dream?" Give an 
 equivalent expression for the second line of stanza 2? 
 What biblical reference in stanza 2? See Ecclesiastes 
 III, 20. Of what was the third line of stanza 2 spoken? 
 What two theories of the end of life are rejected in stanza 
 3? Note how these ideas find expression in the passages: 
 
 a. Take thine ease, eat, drink and be merry. — Luke. 
 XII. 19. 
 
 b, This world's a wilderness of woe. — Favorite Song. 
 
 179 
 
(Is the song quoted from a good one to instill the 
 right spirit into the pupil?) 
 
 In what sense is "Art" used in stanza 4? See "In- 
 ternational Dictionary," and fourth point in analysis above. 
 Does "hearts" refer to the soul or to the heart in the 
 body? If the former does stanza 4 contradict stanza 2? 
 Connection between "muffled drums" and "funeral 
 marches?" The drums are deadened or muffled on occa- 
 sion of a military funeral. To what is life compared in 
 stanza 5? What two phases does this warfare take on? 
 Work on the battle-field and in the bivouac. What two 
 phases of the work of life are referred to here? What 
 two attitudes are possible for the soldier? See lines three 
 and four of stanza 5. Compare stanza 6 with the fol- 
 lowing inscription form "Hyperion": 
 
 "Look not mournfully into the past. It comes not back 
 again. Wisely improve the present. It is thine. Go forth 
 to meet the shadowy future, without fear and with a 
 manly heart." 
 
 Explain the meaning of line two, stanza 6. Note the 
 biblical origin of the expression, Matthew VIII. 23. What 
 is gained by repetition of "act" in line three? What are 
 the two conditions of successful action? What is the com- 
 parison suggested in the "footprints on the sands of 
 time?" Just as on the seashore footprints are quickly 
 effaced by the waves, so time soon blots out the memory 
 of ordinary deeds. Only by means of heroic action can 
 any one hope to leave permanent foot-prints. Does this 
 fact discourage us or nerve us to greater efforts? To 
 what is life compared in stanza 8? Why the word "solemn" 
 in line^two? Is action easier when the reward is attrac- 
 tive and in sight or where it is hidden and we must 
 "wait?" In what does the strength of this poem lie? It 
 stirs us to action under the second set of conditions. The 
 ideas of the poem, or kindred ideas, find expression in 
 many of Longfellow's later productions. Profitable com- 
 parison may be made with "The Light of Stars." How 
 do you explain the great popularity of this poem? 
 
 180 
 
PUSSY WILLOW'S HOOD 
 
 (Pratt — II — 146.) Why had Pussy Willow been shut 
 up all winter in her home by the brook? Do you know 
 what sort of house she lived in? Why were the flowers 
 not up when Pussy Willow came out of her house? What 
 was the fur hood like, that she had on? Was she wise 
 to listen to Mother Nature? How would Mother Nature 
 let her know when it was time to take her hood off? 
 What did the robin tell to his friends about Pussy Wil- 
 low? What do we call people who engage in idle talk 
 about others? Was Pussy Willow wise in the way she 
 treated the gossips? What was under her hood? How 
 do you think the robin felt? 
 
 PYLE, HOWARD 
 
 An American illustrator and author, born in Wilming- 
 ton, Del., in 1853. He studied art in Philadelphia after 
 which he practiced his profession in New York. He is 
 one of the leading illustrators of America, his best sub- 
 jects being taken from the colonial periods of New Eng- 
 land and New Amsterdam. His works are: "Merry Ad- 
 ventures of Robin Hood," "Pepper and Salt," "The Rose 
 of Paradise," "A Modern Aladdin," "Twilight Land," and 
 the "Garden Behind the Moon." 
 
 Selection: IV, 166. 
 
 QUIET WORK 
 
 (Arnold — V — 321.) The poet turns to nature for a les- 
 son with regard to two duties which he says the world 
 considers at war with each other. This is the question of 
 the inconsistency of work and tranquility and is involved 
 in the title of the poem "Quiet Work." Arnold sought 
 after the Greek ideal of tranquility and found its counter- 
 part in nature's ways. The long quiet process of nature 
 appealed to his sense of harmony. In the last line of the 
 second stanza he dignifies the purposes of nature in con- 
 trast to the ways of man. Is his characterization of man's 
 work in the third stanza true or not to our modern life? 
 Where is the fault in our thinking? 
 
 181 
 
RACE, THE 
 
 (Dodge — IV — 256.) The selection is taken from "Hans 
 Brinker, or the Silver Skates." What is the first feature 
 in the selection, which emphasizes the fact that the scene 
 is laid in Holland? Follow this up with the other inci- 
 dents and facts that are distinctively Dutch. Describe the 
 plan and rules of the race. What is peculiar in the 
 Dutch costume? Tell the incident of Hans and the skate- 
 strap. What is the most effective picture in the selection? 
 Mercury, the winged messenger of the Gods. Is the final 
 picture of the presentation of prizes a fitting climax? 
 
 RAGGYLUG 
 
 (Seton — II — 3.) Where do rabbits build their homes? 
 Why did Molly Cottontail tell Raggylug to "lie low" 
 while she was away? What happened when he forgot to 
 mind? Did Molly Cottontail know about snakes being 
 in the grass? How do rabbits fight? What lesson did 
 Raggylug get out of this experience? 
 
 RARE SEPTEMBER 
 
 (Anon. — IV — 255.) In what sense is September "radi- 
 ant"? What odors can you recall as being characteristic 
 of the month? What is the force of the word "tingle" in 
 the third line of first stanza? What is it that gives the 
 hill slope a "glimmering line" in September? Explain how 
 "summer's a step behind and autumn's a thought before." 
 Why does the poet attach the idea of fleetness to the 
 September day? In what sense does he speak of it as an 
 "angel at the door"? 
 
 RECESSIONAL, THE 
 
 (Kipling — V — 365.) "The Recessional" was published 
 in the "London Times" at the close of the Diamond Jubi- 
 lee of Victoria's reign, in 1897. In the midst of the 
 elaborate celebrations in honor of worldly power, the 
 poem comes as a protest and as a plea for humility of 
 spirit. It has already firmly established itself as a classic. 
 The title refers to the hymn in the English Church service 
 which is sung as the clergy and choir are leaving the 
 
 ■0 _ 182 
 
church. — Palm and pine. Palms of the tropics, pines of 
 northern lands; the two symbolize the wide extent of 
 England's empire. This suggests, also, the meaning of 
 far-flung in line two. — Dies. There has been much dis- 
 cussion of the grammar of this line. Is the subject sing- 
 ular or plural? — Captains. Great generals. — Dune. A hill 
 of sand. — Nineveh and Tyre. Ancient cities in Asia Minor; 
 capitals of extended kingdoms-, and therefore types of 
 worldly pomp and power. — Gentiles. Those outside the 
 chosen people. Kipling patriotically thinks of the Eng- 
 lish as the chosen race. — Reeking tube and iron shard. 
 "Tube" probably refers to the barrel of a cannon, while 
 "shard," literally meaning a fragment of any hard ma- 
 terial, refers to the armor of a battleship. 
 
 (i) To whom is the hymn addressed? Why? (2) What 
 contrast is indicated in the second stanza? (3) Explain 
 lines 7 and 8. (4) What is the thought expressed in 
 stanza 3? (5) Consider carefully the meaning of lines 
 13 and 14. (6) Against what possible national characteris- 
 tic is a warning directed in lines 19-22? (7) What is the 
 appeal of the final stanza? (8) Explain particularly lines 
 27 and 28. (9) What is the effect of the refrain? (10) Do 
 you think the high place accorded to this poem is justified? 
 Why? (From Curry's "Literary Readings"; Rand, Mc- 
 Nally & Co., Chicago.) 
 
 REST 
 
 (Goethe — V — 197.) Commit this poem to memory, 
 more for its splendid truth than for its poetic beauty. 
 What is the average person's idea of rest? Instead of be- 
 lieving in the absolute cessation of activity for rest, the 
 poet accepts a bigger vision. It is the theory of finding 
 in adjustment, the relaxation and repose that is the true 
 rest. According to this idea, how can one find rest in a 
 change of occupation more often than in absolute idleness? 
 Explain the figure of the second stanza in the light of the 
 author's position. Is true rest a matter of body or spirit 
 finnlly? Is there any answer to the foregoing question 
 in the last stanza? 
 
 183 
 
RICHARDS, LAURA ELIZABETH 
 
 Born in Boston, Mass., in 1850. She was the daughter 
 of Samuel G. and Julia Ward Howe. In 1871 she married 
 Henry Richards. There is a long list of juvenile books 
 to her credit among which are: "Sketches and Scraps," 
 "Five Mice," "Captain January," "Hil'degarde's Home," 
 "Melody," "When I was your Age," "Glimpses of the 
 French Court," "Snow White," "The Golden Willows," 
 "The Merryweathers," "Mrs. Trees Will," etc. 
 
 Selection: IT, 86. 
 
 RILEY, JAMES WHITCOMB 
 
 Born at Greenfield, Indiana, 1853; of roving disposition 
 in early life, becoming member of a company of singers 
 and actors whose business it was to advertise patent 
 medicine. Here he had an opportunity for practice in 
 composing songs. Later he was on the staff of the "In- 
 dianapolis Journal" and soon became very popular as a 
 reciter of original Hoosier dialect verses. "The Old 
 Swimmin' Hole and 'Leven more Poems," by "Benjamin 
 F. Johnson, of Boone," brought him into immediate and 
 popular notice. Riley's works are published by the Bobbs- 
 Merrill Company of Indianapolis, with the exception of 
 "Poems here at Home," and "The Rubaiyat of Doc Sifers" 
 which are issued by the Century Company. "Old Fash- 
 ioned Roses," a collection from his various works, is 
 published by Longmans, Green & Company, of London. 
 
 Selections: II, 167; IV, 33; V, 78, 97. 
 
 RIP VAN WINKLE 
 
 (Irving — 1819 — V — 330.) This selection was published 
 in 1819 in the first section of the "Sketch Book" which 
 was issued. It immediately sprang into popular favor and 
 at the present day shares with "The Legend of Sleepy 
 Hollow" the honor of being counted its author's greatest 
 production. It purports to have been written by Diedrich 
 Knickerbocker, "an old gentleman of New York, who 
 was very curious in the Dutch history of the province, 
 and the manners of the descendants from its primitive 
 
 184 
 
settlers." It has as a motto the following passage from 
 Canwright which is interesting because of its suggestion 
 of humorous seriousness which is to pervade the entire 
 piece:— 
 
 "By Woden, God of Saxons, 
 
 From whence comes Wensday, that is Wodensday, 
 Truth is a thing that ever I will keep 
 Unto thylke day in which I creep into 
 My sepulchre." 
 The idea in Rip Van Winkle is not a new one, the same 
 theme being found in "The Story of the Sleeping Beauty 
 in the Wood" and in the legend of the Seven Sleepers of 
 Ephesus. Irving no doubt took the adventure of one 
 Peter Klaus in the Harz Mountains of Germany, who had 
 a somewhat similar adventure, as the basis for his story. 
 He has used a number of means to impress upon the mind 
 of the reader the historical accuracy of the whole thing, 
 the most noticeable of these being the introductory note 
 and the concluding nore and postscript, which are repre- 
 sented as coming from Deidrich himself. If possible the 
 teacher should consult a \ersion of Rip Van Winkle 
 which does not have these portions eliminated. "The 
 story appeals very directly to the common sentiment of 
 curiosity as to the future, which is not far removed from 
 what some have regarded as an instinct of the human 
 mind pointing to personal immortality." — What facts are 
 brought out about the Kaatskill Mountains in the opening 
 paragraph? Why are they called "fairy mountains?" 
 (The suggestion in the word "fairy" prepares the mind of 
 the reader to entertain the marvelous story which is to 
 follow.) Describe the village at the foot of the mountain. 
 What one family does the author speak of in detail? 
 Give an account of Rip's nature. What seemed to be the 
 principal error in his composition? In what way did this 
 error manifest itself? Why did he not work his farm? 
 What words would you use to indicate Rip's disposition? 
 Tell what you learn about his wife. What effect did she 
 have upon Rip? How did he try to escape her? Did his 
 efforts succeed? "What finally was he driven to do in 
 
 185 
 
order to get away from her? Give an account of his 
 whole adventure in the mountains. What were his first 
 thoughts upon awaking? What did he do? Why did he 
 feel some hesitation about going back to the village? 
 Explain what happened on his return trip. Follow care- 
 fully the happenings after he reached the village. What 
 had taken place during Rip's absence? Was he able to 
 get this through his head? Tell about Rip's after life. 
 Are there any who ever have a desire to emulate Rip? — 
 Point out the most humorous things in the story. Do 
 you find anything pathetic about Rip's career? Which 
 do you sympathize with, Rip or his wife? Select some 
 of the most striking passages in the selection. The 
 reader should be impressed with the remarkable 
 ease and beauty of Irving's diction. — At the close 
 of the Christmas stories Irving said that he wrote, not 
 to give information but either "to rub out wrinkles 
 from the brow of care" or "to prompt a more benevolent 
 view of human nature." Which one of these purposes do 
 you think is mainly served by "Rip Van Winkle"? Is it 
 as important to have selections which rub out wrinkles 
 from the brow of care as to have selections which give 
 new information or teach moral lessons? 
 
 (About one-third of the story, mainly the part dealing 
 with Rip's family and domestic troubles, is omitted in the 
 reader. The questions on that portion may be disre- 
 garded, but the full list is given here for the sake of com- 
 pleteness.) 
 
 ROCHE. JAMES JEFFREY 
 
 An American poet and journalist of Irish stock, born in 
 Montmellick, Ireland, in 1847. In his infancy, his parents 
 emigrated to Prince Edward Island, where he was edu- 
 cated in Saint Dunstan's College. In 1866, he went to 
 Boston, where he engaged in commerce and later joined 
 the editorial staff of "The Pilot." His writings include 
 "Ballads of Blue Water," "The Vase and Other Bric-a- 
 Brac" and the "Story of the Filibusters." 
 
 Selection: V, 69. 
 
 186 
 
ROCK-A-BY LADY, THE • 
 
 (Field — II — 112.) This exquisite lullaby is a succession 
 of wonderful fancies. The conception of the Rock-a-by 
 Lady herself, is very beautiful and will appeal to the 
 fertile imagination of the child. The mystery of sleep 
 has made the way of its approach a fine subject for 
 poetic fabrications. The "Sand Man" is a facinating 
 creation, and the Rock-a-by Lady is no less so, with her 
 delicate feminine charm. Emphasize the street she 
 comes from, and give the full significance of the poppies 
 and their dreams. Follow the images through as they 
 are suggested. Are the dreams mentioned in the second 
 stanza for a little boy or girl? What of the third? The 
 imagery in the third stanza must not be lost. The boats 
 on silver streams, the stars peek-a-booing and the fairies 
 flying up to the r.ioon, will furnish a picture that will 
 enrich the child's imagination. The last stanza 's a 
 clever modification of the first. The terms "tiny" and 
 'fleet" are peculiarly descriptive of dreams. They come 
 like little glimpses of a picture and are gone. 
 ROMULUS AND THE BEGINNING OF ROME 
 
 (Harding — V — 79.) This is a part of chapter two in a 
 book called "The City of the Seven Hills." Why are the 
 stories of the founding of Rome not likely to be authen- 
 tic? Alba Longa, the most ancient town in Latium and 
 deriving its name from the fact that it stretched in a 
 long line down the Alban mountains toward the Alban 
 Lake. Tell the story of the uncle's scheme to destroy 
 Romulus and Remus. Is there any similarity between 
 this incident and a bible story you are familiar with? 
 Why did the shepherd who found the children take good 
 care of them? What kind of characters did these chil- 
 dren develop? What led to their punishing the cruel 
 king? Why did they decide to found a new city? What 
 location did they choose? What advantages had it? By 
 what plan did they give it a name? 
 ROSSETTI, CHRISTINA GEORGINA 
 
 Born in London, December 5, 1830, daughter of Gabriel 
 Rossetti, and sister of Dante Gabriel Rossetti. Her work 
 
 187 
 
is made up of poetry that is mainly devotional in its spirit. 
 Critics are agreed in assigning her a high place among 
 modern women poets. Died, December 30, 1894. 
 Selections: III, 81; IV, 24. 
 
 SANDPIPER, THE 
 
 (Thaxter — IV — 254.) The speaker is running along the 
 beach. What is she doing? Why is she in a hurry? Who 
 accompanies her? She is evidently connected with a 
 lighthouse and hence leads a lonely life. Would this 
 make her more concerned in rinding interest and com- 
 panionship in the bird? In what is the bird like herself? 
 What are some of the things that indicate the furious 
 storm coming? Where will the speaker be during the 
 storm? Will the bird have equal comfort? Why does 
 she not fear for the sandpiper? — St. 1. Driftwood. Wood 
 cast upon the beach by the sea. Notice the personifica- 
 tion in line 4. — .St. 2. Sullen. Black and threatening. — 
 Close-reefed. With sails tightly furled. St. 4. Loosed. 
 What is the picture suggested? 
 
 SANTA CLAUS'S PARTNER 
 
 (Page — III — 94.) This selection is a part of a chapter 
 from a book entitled "Santa Claus's Partner." Try to 
 conceive of the state of mind of a little girl given Kitty's 
 privilege on Christmas eve? What made Kitty feel it 
 necessary to tell Mr. Brown that she knew who Santa 
 Claus was? Do you think she was accustomed to as 
 much money to spend as she liked? What incident proves 
 this? When Kitty saw her wish coming true what effect 
 did it have upon her? Why was she called Santa Claus's 
 partner? What effect did her visit to the hospital have 
 upon her? 
 
 SARA CREWE AND THE BEGGAR GIRL 
 
 (Burnett — IV — 6.^ This selection is from a book by 
 the author, called "Sara Crewe." Could the author have 
 found a better setting for the little heroine in which to 
 test whether or not she was really a princess? Is there 
 anything harmonious in the external appearance of Sara 
 
 188 
 
and the kind of day? What sort of a disposition had she? 
 Keep in mind any act or thought that will help explain 
 Sara's character. What particular form did her "make- 
 believing" take on this afternoon? How much is a six- 
 pence? What did Sara refer to, when she said "It is 
 true"? What was it in her that made her decide to ask 
 the baker's woman if she had lost a piece of money? 
 What made her take notice of the beggar girl? How was 
 it her understanding was so keen? What incident with 
 the beggar girl proves that Sara was still "make-believ- 
 ing"? What does her conduct with the baker's woman 
 show? Trace Sara's mental process as she gives her 
 buns, one, then three, and then one. How do you ac- 
 count for the beggar girl's behavior after Sara bids her 
 "good bye"? In summing up Sara's conduct would you 
 say she was worthy to be a real princess? Is such an 
 imagination as hers a desirable possession? 
 
 SAXE, JOHN GODFREY 
 
 An American poet and humorist, born in Highgate, Vt., 
 in 1816 and died in 1887. He graduated from Middlebury 
 College and later was called to the bar. For a time he 
 ran the "Burlington Sentinel," after which he was ap- 
 pointed Attorney General of the state. Burlesques, sa- 
 tires, and parodies abound in his work. 
 
 Selection: IV, 16. 
 
 SCHOOLMASTER, THE 
 
 (Goldsmith — V — 172.) These lines are from Gold- 
 smith's famous poem, called "The Deserted Village. 
 This characterization of the schoolmaster in verse is a 
 work of art, no phrase of which can be over-looked. 
 What sort of a picture does the imagination compre- 
 hend from the first four lines? The word "straggling" 
 is a powerful descriptive. Explain in what way. 
 Furze, a spiny shrub of the bean family having many 
 branches and yellow flowers. — In what way could a 
 plant be said to be "unprofitably gay"? Boding, having 
 a presentiment. — To whom does the term "boding trem- 
 blers" apply? Why should his pupils laugh with "counter 
 
 189 
 
feited glee"? To what could the schoolmaster's severity- 
 be attributed? What were his many accomplishments? 
 Presage, foretell. — Gauge, ability to estimate capacity, — a 
 nautical term signifying ability to judge position of 
 vessels with reference to other vessels or to the wind — 
 Vanquished, overcome, conquered. — What quality is ex- 
 pressed in the line, "For even though vanquished, he could 
 argue still"? What, after all, was the great wonder in 
 regard to the schoolmaster? Do the lines 
 
 "While words of learned length and thundering sound 
 Amaze the learned rustics ranged around" 
 give you any sort of a picture? 
 
 SCHWATKA, FREDERICK 
 
 Author of a juvenile book called "Children of the Cold," 
 published by the Educational Publishing Company. 
 Selection: III. 101. 
 
 SCOTT, SIR WALTER 
 
 Born in Edinburgh, Scotland, August 15, 1771; educated 
 at Edinburgh University; studied law; devoted much of 
 his time to the reading and collection of old Scottish 
 ballads and legends. In 1805, "The Lay of the Last Min- 
 strel" was published, followed in 1808 by "Marmion" and 
 in 1810 by "The Lady of the Lake." "Waverly," the first 
 of his great novels, was published in 1814, and the others 
 in the long series followed in rapid succession. The fail- 
 ure of the publishing house, with which Scott was con- 
 nected as a silent partner, left him burdened with a tre- 
 mendous debt, which he worked hard to pay. The ex- 
 ertion necessary to do this resulted in undermining his 
 robust health, and he died September 21, 1832, "at Abbots- 
 ford. Numerous editions of his novels and poems may 
 be had at various prices. The great standard biography 
 is the "Life" by his son-in-law, Lockhart, which has been 
 called the best piece of biography in the English 
 language. 
 
 Selection: V, 47, 179- 
 
 190 
 
SEA DIRGE, A 
 
 (Shakespeare — V — 2J3.) One stanza of Ariel's song 
 to Prince Ferdinand in the first act of "The Tempest." 
 Ferdinand thought his father had been drowned, and these 
 lines still further impress that idea upon his mind. Notice 
 that the expression "sea-change" is the one around which 
 the stanza is built. It means changed by the action of 
 the sea. What transformations are mentioned? What 
 is a fathom? What sound comes to your ear in the final 
 lines? Characterize it. Do you like the music of these 
 lines? 
 
 SEA SONG, A 
 
 (Cunningham — IV — 229.) This is an exquisite piece of 
 music, expressing the spirit of the sea and the splendid 
 sense of freedom known to the true mariner. It has no 
 superfluous word in it and each sound is a fragment of 
 the music of the whole. Read the first stanza aloud and 
 note the wonderful rhythm that is the rhythm of the sea. 
 The first two lines suggest the undulations of the verses. 
 The second stanza has been omitted, and for the sake 
 of the beauty of the whole is quoted as follows: 
 
 O for a soft and gentle wind! 
 
 I heard a fair one cry; 
 But give to me the snoring breeze 
 
 And white waves heaving high; 
 And white waves heaving high, my lads, 
 
 The good ship tight and free, — 
 The world of waters is our home, 
 
 And merry men are we. 
 
 In this stanza, we have the answer of the true sailor to 
 the landsmen who wishes for fair weather and a smooth 
 sea. What is the force of "snoring" in this stanza? The 
 feeling of security and happiness on the rough sea is ex- 
 pressed here. What is meant by the "horned" moon? 
 The music of the storm is audible in the third stanza and 
 with it a wonderful exaltation of spirit that is born of 
 freedom. What is meant by the "hollow oak"? 
 
 191 
 
SECRET OF THE BRIER BUSH, THE 
 
 (Seton — II — 154.) This little selection is very sugges- 
 tive of the wonderful adaptiveness of Nature. When the 
 rose bush had no thorns, who were its enemies? Why- 
 was the rabbit not an enemy to the brier bush? What 
 was his reward? Why is the brier bush a good refuge 
 for the rabbit? 
 
 SERVANT OF ALL, THE 
 
 (Keary — III — 217.) What is a swineherd? Is it an 
 enviable position? Whom did Carl meet first? What piece 
 of news did he hear? Whom did he meet next? What 
 service did he render? What excuse did he make for the 
 donkey's being unreasonable? What was the next ser- 
 vice? Was the rabbit reasonable? What did he do for 
 the beggar? What risk was he running with his pigs? 
 Enchanted, under the spell of spirits. — Cobbolds, earth 
 sprites that inhabit mines and caves. Whom did he stop 
 to help next? When he lifted the weight from the worm 
 did he know he would lose his pigs? What spirit did 
 he manifest when he found them gone? What did Carl 
 find in the market place? What was his answer when the 
 old man asked him what he had been doing in the wood? 
 Who were the witnesses? What was the result? How 
 did Carl manifest his modesty? 
 
 SETON, ERNEST THOMPSON 
 
 Artist, author and lecturer. Born at S. Shields in Eng- 
 land in i860. He lived both in Canada and the west and was 
 educated at Toronto Collegiate Institute and the Royal 
 Academy, London. He became official naturalist to the 
 government of Manitoba, and later studied art in Paris. 
 He is now a well-known illustrator. Among his best 
 known books are, "Wild Animals I have Known," "Bi- 
 ography of a Grizzly,*' "Wild Animal Play for Children," 
 "Lives of the Hunted," "Animal Heroes," "The Natural 
 History of the Ten Commandments," etc. 
 
 Selections: II, 3, 154. 
 
 192 
 
SEWELL, ANNA 
 
 Very little knowledge about this writer seems acces- 
 sible except that she was an Englishwoman, who died un- 
 married, shortly after the publication in 1877 of the book, 
 "Black Beauty." This book made her famous, and a 
 selection from it is given on page 318 of the fifth reader. 
 
 SHAKESPEARE, WILLIAM 
 
 Born at Stratford-on-Avon, Warwickshire, England, 
 April 23, 1564; educated at the grammar school in Strat- 
 ford; married Anne Hathaway in 1582, and about 1586 left 
 Stratford for London. Here he became known as a skill- 
 ful adapter of plays and a little later as a writer of 
 original merit. For twenty years he seemed to be very 
 prosperous in his chosen profession and retired about 
 161 1, to Stratford, where he died April 23, 1616. Perhaps 
 the best guide for the beginner, just making the acquaint- 
 ance of this great author, is Dowden's "Shakespeare 
 Primer," published by the American Book Company. 
 Dowden's larger work entitled "Shakespeare, His Mind 
 and Art" (Harpers), is. in the judgment of many com- 
 petent students, one of the sanest critical volumes ac- 
 cessible, while Sidney Lee's "Life of Shakespeare,'' pub- 
 lished by The Macmillan Company, presents the latest 
 conclusions on the many controverted questions con- 
 nected with his career. The editions of Shakespeare's 
 works and the various books written about him are al- 
 most innumerable. Among the many good editions of his 
 pla.) s some of the best for school use are Rolfe's (Ameri- 
 can Book Co.), Hudson's (Ginn), and The Arden (Heath) 
 
 Selections: 4. 96, 120; V, 166, 178, 220, 273. 
 
 SHARP, DALLAS LORE 
 
 An educator and clergyman, born at Haleyville, N. J., 
 in 1870. He graduated from Brown University and later 
 from a Boston school of Theology. At one time he was 
 on the staff of the "Youth's Companion." Lie is author 
 of "Wild Life Near Home." "Watcher in the Woods," 
 and "Roof arid Meadow." 
 
 Selections: III. 108; IV, 250; V, 90. 
 
 193 
 
SHERMAN, FRANK DEMPSTER 
 
 An American educator and well-known writer of light 
 verse. He was born at Peekskill, N. Y., in i860. He 
 graduated from the Columbia School of Architecture. 
 He was made instructor in the department of architec- 
 ture and later adjunct professor. He is author of 
 •'Madrigals and Catches," "New Waggings of Old Tales" 
 and "Lyrics for a Lute." For children he has written 
 "Little Folk Lyrics." 
 
 Selections: III, 27, 177; IV, 238. 
 
 SHOOTING MATCH AT NOTTINGHAM TOWN, 
 THE 
 
 (Pyle — IV — 166.) This is taken from Howard Pyle's 
 "Robin Hood." Burghers, freemen or citizens. — Range, 
 the space limited for the march. — Pace, about three feet. — 
 Fix in mind this gay picture of lords and ladies and the 
 excitment that prevailed. Read aloud the herald's rules 
 of the game until they are understood. Who was Robin 
 Hood? Why did the sheriff look for him there? Lincoln 
 green, a color associated with a kind of cloth for which 
 Lincoln, England, was once famous, and worn by Robin 
 Hood and his band of archers, — Clout, the center of the 
 target, usually a piece of cloth or leather. Around the 
 clout is a ring of black and still around that, on the out- 
 side of the target, a white ring. — Yeoman, a man who had 
 free land of forty shillings by the year. — What was the 
 sheriff's argument that Robin Hood could be no one of the 
 four strangers? Yew, bow made from the wood of the 
 yew-tree. — Dais, a raised seat or platform. — When the 
 sheriff gave the prize to Robin Hood, what offer did he 
 make him? What reply did he get? What effect did 
 Robin : s answer have on the sheriff? Murrain, a disease 
 of cattle; the expression as used in the text means the 
 same as "plague take 3^011." Sherwood Forest was the home 
 of Robin Hood and his outlaws. What was the occasion of 
 this motley company in Sherwood forest? Hind, a peas- 
 ant. — What was the exciting incident of the Sheriff's 
 dinner table? In what spirit was this action performed 
 
 194 
 
by Robin Hood? Was there a reason for his not being 
 at close range? What effect did this scroll have upon 
 the sheriff? Why? 
 
 SILL, EDWARD ROWLAND 
 
 An American poet and essayist, born at Windsor, Conn., 
 in 1841. He graduated at Yale in 1861 and after several 
 years of teaching in the east, was made principal of the 
 Oakland, Cal., High School, and later professor of English 
 in the University of California. He returned to the east in 
 1882. Among his best known writings are "Hermione and 
 Other Poems," "The Hermitage," "Venus of Milo." His 
 best prose is included in a volume called "The Prose of 
 E. R. Sill." He died in 1887. 
 
 ►Selection : V, 62. 
 
 SINGING LESSON, THE 
 
 (Ingelow— IV — 156.) What are the leading character- 
 istics of the nightingale? Are people who are talented 
 usually sensitive? What was the effect of the mistake 
 upon the nightingale's singing? Give the argument the 
 dove used in order to set the nightingale right? In what 
 way was the nightingale acting like an owl? Did the fact 
 that the nightingale needed only to speak in order to 
 create beauty make its responsibility any greater? What 
 do you think was in the look the nightingale gave the 
 dove? What is meant by the fifth line in the fourth 
 stanza? What was the nightingale's mood when she sang 
 again? Why was she not aware of the people that stood 
 below? Do you think the poet confines the thought in 
 this poem to singers? What class of people can be com- 
 pared to the nightingale? Did the dove have a mission? 
 What class of people can be compared to the dove? 
 
 SIR BOBBIE 
 
 (Piatt — II — 53.) What is there to account for the dif- 
 ferent ambitions of young children? Explain the quali- 
 ties expected in a real knight. What sort of lives do 
 they lead? What was Bobbie's first knightly act? Men- 
 tion others that followed. Does knightly conduct appl> 
 
 195 
 
to the treatment of animals? Explain how this is in 
 keeping with the real spirit of knighthood? What was 
 the really big test of Bobbie as a knight? Did he prove 
 himself? What reward was in store for him? Why did 
 he wish his pony spoken of as a "steed?" Why did his 
 mother speak of his having won his spurs fairly? Do 
 knights have spurs? What did his mother mean by tap- 
 ping him on the shoulder and saying, "Rise! Sir Bobbie"? 
 
 SIR CLEGES AND THE CHRISTMAS CHERRIES 
 
 (Darton — III — 60.) How did Sir Cleges come to be 
 poor? What feelings were in his heart when he dis- 
 covered the cherries? What was their first impulse after 
 he and his wife found they were real cherries? Why did 
 Sir Cleges have trouble with the porter? What did the 
 porter make him promise if he let him in? Churl, a term 
 of contempt, in this connection meaning "country jake." — 
 What quality did the porter, the usher and the steward 
 have in common? How did the King receive Sir Cleges' 
 gift? What reward did the knight ask for? What was 
 his motive in punishing these men? How did Sir Cleges 
 happen to see the King again? What was the result? 
 What was it that made Sir Cleges a true knight? 
 
 SMITH, ANNA HARRIS 
 
 Selection: IV, 107. 
 
 SOMEBODY'S MOTHER 
 
 (Anon. — IV — 148.} What feeling results from reading 
 the first stanza? Why are old people timid? In the 
 second stanza we have a contrast with the first, in the 
 active bustling children probably going or coming from 
 school? Were the children purposely indifferent to the 
 old woman? What sort of a boy gave her assistance? Is 
 there any point to his "whispering low"? Why do we 
 owe attention to the aged? 
 
 SNOW 
 
 (Dodge-^III— 93.) In how many ways are snow flakes 
 like feathers? In how many ways are clouds like birds? 
 
 196 
 
What real work do the snow flakes clo^ How can a snow 
 flake kiss a face? Be sure to express the first two lines 
 of each stanza as spoken by a person, probably a child, to 
 the snow ilakes and the last two lines of each stanza a- 
 the repl}' of the snow flakes. 
 
 SNOWDROP 
 
 (Tennyson — IV — 2.37-) How and where does the snow 
 drop bloom? Why is it called a "February fair-maid" : 
 Hew is the expression "solitary firstling'' accurate? In 
 what way is the snowdrop prophet of "the gay time"? 
 Could you describe this poem in any term that would be 
 applicable to the snowdrop? 
 
 SONG, A 
 
 (Browning — IV — 131.) This is the first song that 
 Pippa sings as she starts out to enjoy her one holiday 
 (see "A Spring Morning").. Among the great ones whose 
 lots she envies is Monsignor, the Bishop. She wishes 
 that she might be in his place since it seems that God's 
 love is best of all. As she contemplates this there comes 
 to her a sense of sharing in God's love and she sings the 
 little song of the selection. From the sentiment of this 
 poem, would you think the poet believed that God's 
 presence filled our earth? In what sense can each work 
 only as God wills? Is the term puppet meant to charac- 
 terize a creature without a will? If we were literally 
 God's puppets, how would it alter our moral responsi- 
 bilities? 
 
 SONG, A 
 
 (Riley — V — 78.) Look through the poem and see if all 
 the songs the poet refers to can be heard with the ear? 
 In what sense do you think the word song is used? 
 Where, then, is it that the real song exists? 
 
 SONG-SPARROW, THE 
 
 (Van Dyke— III— 6.) How old would a child likely be 
 when he first began spelling the name of the smallest 
 bird? Does the word "smallest" here really refer to bird, 
 
 197 
 
or is it not meant to modify "name"? What is meant by 
 a "gentle-joyful song"? What justifies the poet in speak- 
 ing of March as the time when "snow returns to hide the 
 earth"? How can the heart be warmed with mirth? What 
 is meant by a "Joseph's coat"? What color do Quakers 
 wear? Does the poet think the song-sparrow a well- 
 dressed bird? Is there anything in the third stanza 
 to indicate the poet's idea about clothes and outward 
 appearance? What quality of the bird is described in the 
 fourth stanza? How does the song-sparrow tell that 
 "lowly homes to heaven are near"? Does he do this 
 knowingly? Sum up all the qualities of the song-sparrow 
 that make him the poet's choice? Are these same quali- 
 ties valuable in human beings? 
 
 SOUTHEY, ROBERT 
 
 Born at Bristol, England, Aug. 12, 1774, educated at Ox- 
 ford, with the plan of taking holy orders, but soon gave this 
 up and entered the field of authorship. His reputation as 
 a writer during his life was immense, but, it seems, has 
 steadily declined since his death. His "Life of Nelson" 
 is regarded as one of the standard biographies, while his 
 "Battle of Blenheim" and "The Holly Tree" are found 
 in most general collections of poetry. Died March 21, 
 1843. Life in English men of Letters series. 
 
 Selection: V, 93. 
 
 SFRING IN KENTUCKY 
 
 (Fox — V — 304.) Why the term Bluegrass when speak- 
 ing of Kentucky? This is a fine piece of description in 
 which every word has its own signifiance. In what sense 
 may the earth be called spiritual? Why speak of "shy 
 green" as applied to the earth's covering? What does 
 the author mean by newly washed skies? Starling, a bird 
 originally from Europe, brown, glossed with black, and 
 having the extra muscles that make the perfect vocal 
 mechanism.— What picture suggests itself by the line "all 
 singing as they sang at the first dawn"? What is the 
 significance of Mars being the morning star? What is 
 
 198 
 
the force of "red" as applied to Mars? What is the effect 
 of the description in paragraphs three and four? Note 
 the number of sounds suggested. To what extent do we 
 comprehend and enjoy natural phenomena through the 
 sense of hearing? 
 
 SPRING MORNING, A 
 
 (Browning — V — 206.) This little poem is a song taken 
 from Browning's dramatic poem "Pippa Passes." Pippa is 
 a little factory girl employed in the silk mills in northern 
 Italy. She has but one holiday in the year and she is 
 determined to make the most of every second of it. She 
 tries to imagine herself each of the four persons in turn 
 whose lot she considers most enviable. First is Lady 
 Ottima and her guilty lover. As Pippa passes on new 
 year's morning, the shrub-house in which these lovers 
 are talking over the murder of Ottima's husband, she 
 sings this little song. They, hearing, are consumed with 
 remorse and set about the expiation of their guilt. The 
 little song is an expression through the pure and inex- 
 perienced soul of a young girl, of the author's deep faith 
 in life being right and the world sound at the core. In 
 eight short lines are condensed the beauty of a new day 
 and the joy of life that comes to the soul that has faith. 
 Note the process of narrowing through the first three 
 lines. Can you see the reason for it? What imagery is 
 suggested by lines four, five and six? Is physical delight 
 expressed in this poem? Is there spiritual joy as well? 
 
 STAR-SPANGLED BANNER, THE 
 
 (Key — IV — 243.") This poem was written by Francis 
 Scott Key on Wednesday morning, September 14, 1814, 
 when the British forces were attacking Baltimore (War 
 1812.) The flag referred to was the one flying over Fort Mc- 
 Henry. Key was temporarily prisoner on the British flag 
 ship. Having waited through hours of terrible suspense 
 during the bombardment of Fort McHenry, on the morn- 
 of the 14th, through a rift in the fog, and smoke, he dis- 
 covered the Stars and Stripes still proudly defiant, and 
 immediately wrote the Star-Spangled Banner, our national 
 
 199 
 
anthem. What is the all-important question expressed 
 in the first stanza ? To what does "towering steep" refer? 
 Vauntingly, boastingly. — Havoc, destruction. Key had seen 
 the burning of Washington, and expected a similar fate 
 for Baltimore. Pollution, staining, making vile. — What is 
 meant by the reference to "hireling and slave" in the 
 third stanza ? What does the author think should be the 
 fate of the British? What is the one central idea in the 
 last stanza? 
 
 STEADFAST TIN SOLDIER, THE 
 
 (Andersen — III — 237.) This selection is one of the 
 finest of its kind. Nothing of the adventures of the little 
 soldier with one leg must be lost. Why is reference made 
 in the first paragraph to the new world of the toy sold- 
 iers? — Uniform, a dress of given style worn by persons 
 belonging to some company or body for the purpose of 
 distinguishing them as members of that body. — Why did 
 the hero of this story have but one leg? What was the 
 first exciting thing that happened to the tin ^soldier? 
 Waxen, made of wax. — Swans, large, web-footed, long 
 necked birds, noted for their grace on the water. — Gauze, 
 a light open-woven material. What was the main at- 
 traction of the little maiden for the tin soldier? How was 
 the conduct of the paper maiden and the ti-n soldier dif- 
 ferent from that of the other toys? What was the first 
 calamity that befell the tin soldier? Why did he not 
 think it proper to shout while in uniform? — Undaunted, 
 fearless. — Give the experience in the paper boat. What 
 was the outcome of it? What was the conduct of the tin 
 soldier through all these happenings? Perilous, dangerous. 
 — Sylph, a slender, beautiful girl. — What was the final 
 tragedy of the soldier? Why was it fitting that the 
 paper maiden should be blown into the fire with the tin 
 soldier? What is significant in the form in which his 
 remains were found? Did you admire him? Why? 
 
 STEP BY STEP 
 
 (Holland — IV — 194.) The title of the poem is usually 
 printed as "Gradatim." "Gradatim" is a Latin adverb 
 
 200 
 
m 
 
 meaning gradually, or step by step. This suggests the 
 idea of the poem, which is that in the striving of the 
 soul after higher things we must begin at the bottom and 
 gradually build up, There is no such thing as attaining 
 spiritual perfection at a bound. Holland's work is of 
 special value for young people because of its sound moral 
 suggestions. And these are so beautifully expressed that 
 we^are not aware that he is preaching to us.— State the 
 thought sf tU first stanza. Explain the picture suggested 
 by the word ' ladder" and the way it is made. What is 
 the main thoi ght of stanza 2? Of the third stanza? Is 
 the picture ot climbing the ladder still carried along by 
 the reader? What two stages in spiritual experience are 
 .uo-eested in stanza 4? Are we likely to miscalculate our 
 reaf worth? Why? (Stanza 5-) What line is repeated 
 with slight variations in stanzas 4, 5 and 6? Of what 
 value are hopes, aspirations, resolves, prayers? What 
 else is n-eded'' What is the result of beautiful thoughts 
 without fine action? (Stanza 7-) What seems to you to 
 be the great thought of the poem? Do you see anything 
 which the author gains by beginning and closing with the 
 same lines? 
 STEVENSON'S LETTER 
 
 (ttt_ 2 27) The little daughter of Henry C. Ide, ex- 
 chief justice of Samoa, was the little girl to whom Steven- 
 con willed his birthday. Her name was Annie H. Ide and 
 by the conditions of the will, her middle name was 
 changed to Louisa. What had the little girl evidently 
 sent to Stevenson in reply to his will? What did these 
 prove to him? Peers, equals.-In what points did he 
 consider himself and the name-daughter equals? How 
 was it that Louisa became a month and twelve days 
 younger after her adoption? Registered, written down 
 officially or legally.-One-horse shay, a reference to the 
 vehicle in Holmes's poem called "The Deacons Master- 
 piece" This vehicle was so constructed that no part was 
 Stronger than any other in consequence of which when 
 it wore out, it all fell to pieces.-Revered, honored. 
 
 201 
 
STEVENSON, ROBERT LOUIS BALFOUR 
 
 Born in Edinburg, Scotland, November 13, 1850; edu- 
 cated at the University of Edinburg; studied law but 
 never practiced it; wrote "An Inland Voyage," 1878, 
 •'Travels with a Donkey," 187Q; and the success of these 
 books was followed by a series of romantic stories, such 
 as "Treasure Island," a famous book for boys, "The 
 Strange Case of Dr. Jekyl and Mr. Hyde," "Kidnapped," 
 etc. "The Child's Garden of Verses" shows great genius 
 in grasping clearly the child's point of view. Stevenson 
 was a life-long invalid, the last years of his life being 
 spent in the Samoan Islands where he had built a home 
 called "Vailima" near Apia. Here he died December 3, 
 1894, and was buried at the top of the mountain on which 
 his home was located. Stevenson's works may be had in 
 a uniform edition published by Chas. Scribner's Sons, 
 New York City. A brief biography appears in the series 
 called "Biographies of Great Scots." A more elaborate 
 memoir is that by his cousin, Graham Balfour. 
 
 Selections: II, 9, 60, 73; III, 247; IV, 40, 115. 
 
 STONE, GERTRUDE L. 
 
 Author (with M. Grace Fickett) of "Everyday Life in 
 the Colonies." 
 
 Selection: IV, 186. 
 
 STORY OF ASLAUG, THE 
 
 (Anon. — II — 158.) What possible reason could the 
 wicked people have for harming Aslaug? Was there any- 
 thing appropriate in the hiding place her grandfather pre- 
 pared for her? Is there anything in. the name of the 
 woman to whose house the old man came, that shows her 
 character? What motive had she in allowing them to 
 stay all night? Scowled, looked cross. — Why was she 
 angry when the old man took the harp to the barn with 
 him? Why did they kill Aslaug's grandfather? How 
 were they disappointed in the harp? In what way dfd 
 Grima take her spite out on Aslaug? Would you expect 
 a woman like Grima to appreciate the riches she had In 
 Aslaug? Tell how Aslaug happened to meet Prince 
 
 202 
 
Ragnar. How did the sailors know she was not Grima's 
 daughter? Why would Aslaug not promise at first to 
 marry the prince? What did the prince do about it? 
 Did he keep his promise? What treatment did Aslaug 
 give to Grima in return for her cruelty? Why would you 
 expect this of her? 
 
 STORY OF FIDO, THE 
 
 (Lang — III — 211.) What qualities in the dog make 
 him particularly useful and companionable to man? What 
 is the first evidence in the narrative of sympathy be- 
 tween Fido and his master? Give all the evidence there is 
 that Fido was behaving with intelligence? Was the 
 Master justified in shooting Fido in view of the conduct 
 of the dog? What was the final evidence of the dog's in- 
 telligence and faithfulness? 
 
 STORY OF MY LIFE, THE 
 
 (Keller — IV — 204.) This is a selection from a book by 
 Helen Keller, called "The Story of My Life." What 
 would you judge to be the circumstances of her parents? 
 What were her natural endowments, judging from the 
 early incidents she relates? How old was she when her 
 illness came? What passage in the selection tells you 
 this? Imagine the sensation of being blind and deaf. 
 Upon what sense did she depend most for her informa- 
 tion? What was her first lesson with Miss Sullivan? 
 Why did she consider the most important day in her life 
 the one on which Miss Sullivan came? What was the 
 first difficulty she encountered in her education? What 
 was the incident that solved this difficult}'? Why did this 
 experience afford her such deep joy? How old was 
 Helen when she wrote the letter to Whittier? Where 
 was she? What are the remarkable features of the letter? 
 What powers of mind would likely be stronger in a per- 
 son who had lost sight and hearing than in a normal in- 
 dividual? What is the bond that would unite this child 
 and the poet Whittier? 
 
 203 
 
STORY OF JOSEPH, THE 
 
 (Anon. — II — 75.) This is a story from the bible 
 adapted for the child's comprehension. It is found in the 
 thirty-seventh chapter of Genesis. Why do you think 
 it was that Joseph was his father's favorite? What was 
 the cause of his brother's hatred? What was the need of 
 someone to watch the flocks in those days? Why did 
 Joseph's father send him to the field? What did the 
 brothers plot against him? Why did Jacob believe so 
 readily the evidence of the bloody coat? Was Joseph's 
 lot really made worse or better by his brother's selling 
 him? What happened that brought Joseph and his 
 brothers together again? What spirit did he show to- 
 ward them? What was the first question he asked? 
 Did the brothers really do him any harm? Had they in- 
 tended to? 
 
 STORY OF PETER RABBIT, THE 
 
 (Potter — II — 102.) Do any of these little rabbits have 
 names that sound like they belonged to rabbits? What 
 kind of a home could a rabbit have in a sandbank? What 
 do rabbits eat? Why did the mother tell them they could 
 go into the field but not into Mr. McGregor's garden? 
 What was the difference between Peter's conduct and that 
 of his brothers? Why did Mr. McGregor seem so angry 
 with Peter? Why had a net been put in the garden? 
 What saved Peter when he got into the net? Why did 
 Mr. McGregor say, "I'll catch him one of these days"? 
 What stone wall did Peter run up against? Why did the 
 mouse act as she did? From what Peter's mother said. 
 what sort of rabbit do you think he was? Why was he 
 not well that evening? What was the reward of the good 
 rabbits that night? 
 
 STORY OF RUTH, THE 
 
 (Bible — IV— 245.) The story is found in the first and 
 second chapters of Ruth. The name "Ruth" is Hebrew, 
 meaning "friend." Be sure to recall the fact that Ruth 
 and Orpah were not of Hebrew birth while the family of 
 their husbands was. When Naomi had decided to return 
 
 204 
 
to the land, of Judah, what was her advice to the two 
 daughters-in-law? From her manner of addressing them 
 what would you say in regard to her feeling for them? 
 What was the difference in the decisions of the two? Had 
 the Jews and the Moabites different gods? When did 
 Naomi and Ruth arrive in Bethlehem? What were Ruth's 
 reasons for asking to go into the field and glean corn after 
 Boaz? Does "corn" refer to the kind we know? The 
 gleaners were the ones who followed after the reapers and 
 picked up the loose ears that were overlooked. It was a 
 humble occupation and engaged in by the poor. What 
 was Boaz's attitude to his servants? What was it that 
 attracted the attention of Boaz to Ruth? What was the 
 result of it in his treatment of her? What quality was it 
 in this woman that was most prominent in her conduct? 
 
 STORY-TELLING GAME, A 
 
 (Ward— III — 23..) What does the mother mean when 
 she says "It's weeks since I caught" a story? What plan 
 does the aunt suggest for sending a story into the 
 mother's brain? Where does the story take place? Who 
 are the chief actors in the story? What is the character 
 of each? How does the queen show her character? How 
 does the king show his? In addition to pleasing the 
 queen what was a fine result from the King's action? 
 What does the author mean by the "black speck" in the 
 queen's heart? 
 
 STRANGER, THE 
 
 (Tabb— IV— 183.) The poet makes the stranger rep- 
 resent the vision of the individual as seen of others' eyes. 
 Does the mask signify anything as to which the author 
 might deem the truer vision? What is there in the poem 
 to indicate that the writer does not consider this differ- 
 ence in vision a tragedy? In Holmes' "Autocrat" we find 
 the same theme touched on in the discussion of the three 
 Johns. In addition to the John I recognize as myself, 
 and the John other people think me to be, there is the 
 John I really am. 
 
 205 
 
STRAW, THE COAL, AND THE BEAN, THE 
 
 (Andersen — II — 108.) A version of one of Hans 
 Christian Andersen's stories for children. Have you ever 
 noticed the black seam on beans? What made friends of 
 the straw, the coal and the bean? What did they decide 
 to do? What happened when they came to the stream? 
 Do you see what amused the bean? How hard did she 
 laugh? Where did she find help? 
 
 SUGAR CAMP, THE 
 
 (Warner— IV— 196). The book called "Being a Boy" 
 by Mr. Warner has a chapter devoted to the description 
 of the sugar camp from which this selection is taken. 
 What are the essential steps in sugar and syrup making? 
 Is the larger part of this narrative from the viewpoint of 
 the grown-up or the boy? What incidents prove the au- 
 thor's sympathy with the boy? — Qui vive, a Latin expres- 
 sion literally translated meaning "who goes", but in gen- 
 eral signifying on the alert. Unobstructedly, without ob- 
 stacles. — Sap-yoke, a frame for carrying buckets on the 
 shoulders. — Affectations, pretenses. — Congealed, hardened. 
 
 SUNBEAM, THE 
 
 (Anon. — II — 65.) Have you ever seen the sun rise? 
 Can you see the sun's light before you see his face? Do 
 birds wake up as soon as the sun rises? How do you 
 know when they wake up? Whom did the sunbeam wake 
 after the birds? What did it do? Who was the next 
 after the rabbit? What did they do? Who came after 
 the chickens? What is the first thing the bees did? Who 
 was the last one to be wakened by the sunbeam? What 
 did he do? How did the animals put him to shame? 
 What feeling is expressed in the little verse? 
 
 SUNDAY IN CENTRAL PARK 
 
 (Matthews— V— 313.) This description is taken from 
 a work by Brander Matthews called "Vignettes of Man- 
 hattan." The term vignette indicates a picture, with a 
 background shading off gradually. The selection gives us 
 a number of glimpses into Central Park with nothing par- 
 
 206 
 
tictilarly important to be impressed but just the little 
 snapshots here and there as the casual observer would 
 take them in strolling through. What sort of an atmo- 
 sphere gives that "unfathomable" appearance to the sky? 
 Aquatic. Growing in water. — Mall. A level shaded walk. 
 — Sequestered. Quiet, protected. — Cosmopolitan. From 
 all parts of the world. — Lozenges. Small cakes of sugar 
 or confections. — Pedestrians. Those afoot. — Landaus. 
 Two-seated carriages, having double top, the fore part 
 of which can be removed and the back part folded up. — 
 Hansom. A low, two-wheeled, one-horse cab, closed in 
 front by a lid-like apron and having the driver's seat back 
 of the top. — Tandem. Horses hitched one before the 
 other. — Coupes. Low, four-wheeled, two-seated closed 
 carriages, with outside seat, for the driver. — Phaeton. A 
 light four-wheeled carriage, open at the sides and having a 
 top. — Four-in-hand. Four-horse team. 
 
 If one should try to characterize the impressions from 
 this scene as a whole, one could say that there was a 
 cosmopolitan air and a sense of leisure that indicated a 
 holiday humor. Suggest that the pupil make a list of the 
 various nationalities mentioned, also that he note the 
 various situations that indicated a holiday spirit. 
 
 SUSIE'S DREAM 
 
 (Dayre — II — 5.) Where on the farm do you usually 
 find a haystack? Why is it put there? Do you think 
 the hen spoke in her own or in Susie's language? Was 
 her first question a natural one? Why did she ask if the 
 baby could scratch in the ground for worms and if she 
 could say "peep, peep"? Were they silly questions? Was 
 it what you might expect of an old mother hen to call the 
 baby "queer" and say she would not trade one of her 
 chickens for it? What makes you think the duck talked 
 in its own language? What did the duck look for in the 
 baby sister? What did she say about, her? Would you 
 expect that of a duck? What did the sheep ask? Why 
 did she conclude her lambs were worth twice as much? 
 What did the cat ask? What was the cat's discovery in 
 regard to the baby? How was her conduct different from 
 
 207 
 
that of the other animals? What was the effect upon 
 Susie? How did it end? Why did Susie have such a 
 dream? 
 
 SWALLOW AND I, THE 
 
 (Anon. — II — 136.) What time in the year do the lilac 
 or cherry blossoms come? Why did the swallow twitter 
 with delight? Could a swallow fly a hundred miles in a 
 day? What did she say when asked if she was tired? 
 Where had she been? Why did she go? What does the 
 swallow mean by saying she is "ever on the wing"? What 
 kind of a suit is a "sober" suit? — Nestlings. Young 
 birds. What became of the little birds she had the year 
 before? Where had her home been before she went away? 
 Where does she intend to live now? Use this in dramatic 
 form and have it acted. 
 
 SWIFT, JONATHAN 
 
 Born in Dublin, Ireland, November 30, 1667. Educated 
 at Trinity College, Dublin. The years of his early man- 
 hood were spent as secretary in the household of Sir 
 William Temple, at Moor Park. Swift's best known books 
 are the "Tate, of a Tub," "The Journal to Stella" and 
 "Gulliver's Travels." The first ridicules pedantry in re- 
 ligion and literature. The second is a record of his in- 
 most thoughts and feelings about people, politics, himself, 
 written for Stella. The third is one of the greatest books 
 in our language, equally fine either as mere story of fanci- 
 ful adventure or as a magnificent satire on the English 
 in particular and on mankind in general. The last two 
 bocks of Gulliver show that Swift's gloomy misanthropy 
 had increased until everything was distorted. Swift was 
 affiicted with an incurable brain disease and in his final 
 years he suffered constant torture. His tragic career came 
 to a close October 19, 1745. "Go, traveler," says his 
 epitah, written by himself, "and imitate if you can a man 
 who was an undaunted champion of liberty." 
 
 Selection: V, 158. 
 TABB, JOHN BANNISTER 
 
 A poet born in Virginia in 1845. He was educated by 
 
 208 
 
private tutors and studied music in Baltimore. He served 
 during the Civil War, and was held prisoner, 1864-65. He 
 later taught in several schools and in 1884 was ordained 
 a Catholic priest. His poems are mostly lyrical, some 
 of the best known collections being "Poems Grave and 
 Gay," "An Octave to Mary," and "Quips and Quiddits." 
 Selections: III, 59, 1745 IV, 116, 183. 
 
 TAYLOR, JANE 
 
 Born in London in 178.3, and died in 1824. Her first 
 production which appeared in print was the poem of 'The 
 Beggar Boy." With her sister Ann, she gave much at- 
 tention to juvenile works. Other productions of the au- 
 thor are "Essays in Rhyme on Morals and Manners" and 
 "The Pleasures of Taste and Other Stories." 
 
 Selection: IV, 179- 
 
 TENNYSON, ALFRED, LORD 
 
 Born at Somersby, Lincolnshire, England, August 6, 
 1809. The scenery and spirit of Lincolnshire enters 
 largely into his writings. In company with his brother, 
 Charles, he published a volume, "Poems by Two Broth- 
 ers," in 1827; entered Trinity College, Cambridge, where 
 he formed the friendship of Arthur Henry Hallam, who 
 died in 1833 and grief for whose death forms the inspira- 
 tion of "In Memoriam." Tennyson published a volume of 
 poetry in 1830, another in 1832^ and '33, and then re- 
 mained silent for about ten years. These ten years, how- 
 ever, were not wasted, but spent in careful preparation 
 and writing, so that when he came before the public in 
 1842 his work was at once hailed as that of a master 
 hand. "The Princess" appeared in 1847, "In Memoriam" 
 in 1850 and "Idylls of the King" in 1859- These latter 
 were not finally completed until the 1886 volume, which 
 contained the part called 'Balin and Balan." Some of his 
 more famous briefer works are "The Lady of Shalott. 
 "Enoch Arden." "The Brook," The Palace of Art," "The 
 Two Voices." "Locksley Hall" and 'Locksley Hall Sixty 
 Years After." Tennyson also wrote a number of dramas, 
 
 209 
 
three of them, "Queen Mary" (1875), "Harold" (1876), 
 and "Becket" (1884), filling out the important gaps in 
 English history not dramatically treated by Shakespeare. 
 Other dramas are 'The Falcon," "The Cup," "The Promise 
 of May," and 'The Foresters," the latter of which was 
 produced by Augustin Daly. By common consent, Ten- 
 nyson is ranked at the head of modern English poets In 
 1850 he was made Poet Laureate, succeeding Words- 
 worth in that position. He died at Aldworth, Surrey, Oc- 
 tober 6, 1892, and on the 12th of that month was bv '*e^ 
 in Westminster Abbey near the grave of Chaucer. l\*e 
 best single volume complete edition, of his work; is that 
 published by The Macmillan Company, New York City. 
 The authoritative memoir, by his son, Hallam, is pub- 
 lished in two volumes by the same house. A cheaper bio- 
 graphy of merit is that by Arthur Waugh, while a stand- 
 ard book for one just beginning a systematic study of 
 Tennyson is a little volume by Dr. Henry Van Dyke 
 called 'The Poetry of Tennyson," published by the Scrib- 
 ners. 
 
 Selections: IV, 57, I74> 237; V, 59, 191. 322. 
 
 TENT SCENE, THE 
 
 (Shakespeare — V— 220.) This passage is taken from 
 the first part of the third scene of the fourth act of 
 "Julius Caesar," a part of the famous quarrel scene. Let 
 the class divide up into twos and read this passage in real 
 dramatic fashion. Let 'each Brutus and Cassius try to 
 put into the language of his part just what he feels the 
 originals put into it. But they must understand clearly 
 just what it all means. — What charge does Brutus make 
 against Cassius? Does Cassius deny it? Which one 
 seems to control his temper best? Give illustrations. 
 Does Brutus seem to taunt Cassius? Where does he say 
 the meanest things to Cassius? Why is Brutus not afraid 
 of Cassius? Study carefully Brutus's explanation of the 
 causes leading to the quarrel. Do you understand how he 
 was willing to use money wrongfully secured, while un- 
 willing to so raise it himself? Study carefully the 
 
 210 
 
speeches by which they come to better terms. Which 
 one deserves most credit for his kindly attitude? How 
 does Cassius explain his inability to control his temper? 
 What note of humor in Brutus' last speech?— Select and 
 commit your favorite speeches.— Noted. Stigmatized, 
 said mean things about.— Nice. Trivial. What is an "itch- 
 ing palm"? The following line explains.— Ides of March. 
 The fifteenth day.— What villain, etc. What does this 
 question mean?— Grasped thus. What action went with 
 these words?— Bay. Bark at— Drachmas. Greek coins. 
 —Counters. Pieces of money. Why does Brutus speak 
 so contemptuously of them?— Rived. Split.— Olympus. 
 The mountain on which the gods lived.— Conned by note. 
 Learned by heart.— Plutus. The god of wealtn.— Yoked 
 with a lamb, etc. Do you think Brutus correctly analyzes 
 his own character in these lines? 
 
 THAXTER, CELIA 
 
 Born at Portsmouth, New Hampshire, June 29, 1863. 
 Her father was the keeper of the lighthouse on the Isles 
 of Shoals, and here at Appledore most of her life was 
 spent. The mystery of the sea and the meditations in- 
 spired by her natural surroundings found lodgment in 
 her work. Died August 26, 1894- Her works are pub- 
 lished by Houghton, Mifflin & Company, Boston, Mass. 
 
 Selection: IV, 254. 
 
 THEATER IN OUR BARN, THE 
 
 (Aldrich— V— 9.) This is a portion of a chapter taken 
 from the book called "The Story of a Bad Boy." The cen- 
 tral figure in this episode was left to the care of a Puri- 
 tanical old grandfather ^and aunt in the absence of his 
 parents, and in a chapter called "Lights and Shadows," he 
 recounts the incidents of his adjustment to this new life, 
 the experience in the selection being one of them.— 
 Managerial. Belonging to a manager, or schemer. The 
 reference to Prince of Denmark, the King, the grave- 
 digger and fair Ophelia indicates that the Shakespearian 
 roles were undertaken by this management. Bring to the 
 
 211 
 
class the humor of these situations, such as the trick of 
 the curtain, the price of admission and the Tell perform- 
 ance. — Injunction. A judicial order requiring the party 
 to do or refrain from doing some specified thing. — ■ 
 Malestrom. A great whirlpool. — There is no point to 
 this selection more than an appreciation of its fine style 
 and excellent humor. This would be a good opportunity 
 to go somewhat into the essentials of humor. 
 
 THOMPSON, JAMES MAURICE 
 
 An American novelist, poet and journalist, born in Fair- 
 field, Indiana, in 1844. His boyhood was spent in the 
 south. He served in the Confederate Army, and after 
 the -war returned to Crawfordsville, Indiana, where 
 he practiced law and civil engineering. He was 
 State Geologist from 1885 to 1889. He died in 1901. 
 His best known writings are his poetry, "My Winter Gar- 
 den" and ''Alice of Old Vincennes." 
 
 Selection: V, 202, 
 
 THOREAU, HENRY DAVID 
 
 Born at" Concord, Mass., July 17, 1817; graduated at 
 Harvard in 1837; taught school for a while and spent 
 most of his life quietly at Concord. He was rather eccen- 
 tric in his manners and method of life. His writings, of 
 which "Walden" is perhaps the best known, are noted 
 for the intimacy of their touch with nature. Died May 6, 
 1862. His collected works are published by Houghton, 
 Mifflin & Co., Boston, Mass., and the most satisfactory 
 account of his life is that by F. B. Sanborn in the Ameri- 
 can Men of Letters series. 
 
 Selection: V, 34. 
 
 THREE BEARS, THE 
 
 (II — 69-) Hardly any other folk tale, ancient or mod- 
 ern, is a greater favorite with children than this of 
 the three bears. It is generally used in some such sim- 
 terest which centers in the three sizes of the bears and 
 pie form as that given here, which preserves the in- 
 everything about them, especially their voices. But these 
 
simplified forms sacrifice the moral of the story as it ex- 
 ists in the original. The main interest in reading rests 
 in reproducing the three sizes by means of the voice and 
 children take great delight in doing so. 
 
 So with this one suggestion in regard to the story as 
 found in the reader, it seems worth while to reproduce 
 the real "Story of the Three Bears" as Robert Southey 
 wrote and published it in his strange old book called "The 
 Doctor." You wilt find much to stimulate thought in the 
 changes made and in the omissions wherever you find it 
 in readers. 
 
 THE STORY OF THE THREE BEARS 
 
 A tale which may content the minds 
 Of learned men and grave philosophers. 
 
 — Gascoyne. 
 
 ONCE upon a time there were Three Bears, who lived 
 together in a house of their own, in a wood. One of 
 them was a Little, Small Wee Bear; and one was a Mid- 
 dle-sized Bear, and the other was a Great, Huge Bear. 
 They had each a pot for their porridge, a little pot for 
 the Little, Small. Wee Bear; and a middle-sized pot for 
 the Middle Bear, and a great pot for the Great, Huge 
 Bear. And they had each a chair to sit in; a little chair 
 for the Little, Small, Wee Bear; and a middle-sized chair 
 for the Middle Bear; and a great chair for the Great, 
 Huge Bear. And" they had each a bed to sleep in; a Lit- 
 tle bed for the Little, Small Wee Bear; and a middle- 
 sized bed for the Middle Bear; and a great bed for the 
 Great, Huge Bear. 
 
 One day, after they had made the porridge for their 
 breakfast and poured it into their porridge-pots, they 
 walked out into the wood while the porridge was cooling, 
 thai they might not burn their mouths, by beginning too 
 soon to eat it. And while they were walking, a little old 
 Woman came to. the house. She could not have been a 
 good, honest old Woman; for first she looked in at the 
 window, and then she peeped in at the keyhole; and see- 
 ing nobody in the house, she lifted the lately The door 
 
 213 
 
was not fastened, because the Bears were good Bears, who 
 did nobody any harm, and never suspected that anybody 
 would harm them. So the little old Woman opened the 
 door, and went in; and well pleased she was when she 
 saw the porridge on the table. If she had been a good 
 little old Woman, she would have waited till the Bears 
 came home, and then, perhaps, they would have asked 
 her to breakfast; for they were good Bears, — a little rough 
 or so, as the manner of Bears is, but for all that very 
 good-natured and hospitable. B'ut she was an impudent, 
 bad old Woman, and set about helping herself. 
 
 So first she tasted the porridge of the Great, Huge Bear, 
 and that was too hot for her; and she said a bad word 
 about that. And then she tasted the porridge of the Mid- 
 dle Bear, and that was too cold for her; and she said a 
 bad word about that too. And then she went to the por- 
 ridge of the Little, Small, Wee Bear, and tasted that; and 
 that was neither too hot, nor too cold, but just right; 
 and she liked it so well, that she ate it all up; but the 
 naughty old Woman said a bad word about the little por- 
 ridge-pot, because it did not hold enough for her. 
 
 Then the little old Woman sate down in the chair of the 
 Great, Huge Bear, and that was too hard for her. And 
 then she sate down in the chair of the Middle Bear, and 
 that was too soft for her. And then she sate down in 
 the chair of the Little, Small Wee Bear, and that was 
 neither too hard nor too soft, but just right. So she 
 seated herself in it, and there she sate till the bottom of 
 the chair came out, and down (she) came. .. .plump upon 
 the ground. And the naughty old Woman said a wicked 
 word about that too. 
 
 Then the little old Woman went upstairs into the 
 bed-chamber in which the three Bears slept. And first 
 she lay down upon the bed of the Great, Huge Bear, but 
 that was too high at the head for her. And next she lay 
 down upon the bed of the Middle Bear; and that was too 
 high at the foot for her. And then she lay down upon 
 the bed of the Little, Small, Wee Bear; and that was 
 neither too high at the; Jiead, nor at the foot, but just 
 
 tt 214 
 
right. So she covered herself up comfortably, and lay 
 there till she fell fast asleep. 
 
 By this time the Three Bears thought their porridge 
 would be cool enough; so they came home to breakfast. 
 Now the little old Woman had left the spoon of the 
 Great, Huge Bear, standing in his porridge. 
 
 "SOMEBODY HAS BEEN AT MY PORRIDGE !" 
 
 said the Great, Huge Bear, in his great, rough, gruff 
 voice. And when the Middle Bear looked at his, he saw 
 that the spoon was standing in it too. They were wooden 
 spoons; if they had been silver ones, the naughty old 
 Woman- would have put them in her pocket. 
 
 "SOMEBODY HAS BEEN^AT MY PORRIDGE!" 
 said the Middle Bear, in his middle voice. 
 
 Then the Little, Small, Wee Bear looked at his, and 
 
 there was the spoon in the porridge-pot, but the porridge 
 
 was all gone. 
 
 "SOMEBODY HAS BEEN AT MY PORRIDGE, AND HAS EATEN 
 IT ALL UP !" 
 
 said the Little, Small, Wee Bear, in his little, small wee 
 voice. 
 
 Upon this the Three Bears, seeing that some one had 
 entered their house, and eaten up the Little, Small, Wee 
 Bear's Breakfast, began to look about them. Now the 
 Little old Woman had not put the hard cushion straight 
 when she rose from the chair of the Great, Huge Bear. 
 
 "SOMEBODY HAS BEEN SITTING IN MY 
 CHAIR!" 
 
 saidlhe Great, Huge Bear, in his great, rough, gruff voice. 
 
 And the little old Woman had squatted down the soft 
 cushion of the Middle Bear. 
 
 "SOMEBODY HAS BEEN SITTING IN MY CHAIR!" 
 said the Middle Bear, in his middle voice. 
 
 And you know what the little old Woman had done to 
 the third chair. 
 
 "SOMEBODY HAS BEEN SETTING JN MY CHAIR AND HAS SATE 
 THE BOTTOM OF IT OUT !" 
 
 said the Little, Small, Wee Bear, in his little, small, wee 
 voice. 
 
 215 
 
Then the Three Bears thought it necessary that they 
 should make further search; so they went upstairs into 
 their bed-chamber. Now the little old Woman had pulled 
 the pillow of the Great, Huge Bear, out of its place. 
 
 "SOMEBODY HAS BEEN LYING IN MY BED !" 
 
 said the Great, Huge Bear, in bis great, rough, gruff 
 vcice. 
 
 And the little old Woman had pulled the bolster of the 
 Middle Bear out of its place. 
 
 '•SOMEBODY HAS BEEN LYING IN MY BED!" 
 said the Middle Bear, in his middle voice. 
 
 And when the Little, Small, Wee Bear came to look at 
 his bed, there was the bolster in its place; and the pillow 
 in its place upon the bolster; and upon the pillow was 
 the little old Woman's ugly, dirty head, — which was not 
 in its place, for she had no business there. 
 
 "SOMEBODY HAS BEEN LYING IN MY BED,^- 
 said the Little, Small, Wee Bear, in his little, small, wee 
 voice. 
 
 The little old Woman had heard in her sleep the great, 
 rough, gruff voice of the Great, Huge Bear; but she was 
 so fast asleep that it was no more to her than the roar- 
 ing of wind, or the rumbling of thunder. And she had 
 heard the middle voice of the Middle Bear, but it was 
 only as if she had heard some one speaking in a dream. 
 But when she heard the little, small, wee voice of the 
 Little, Small, Wee Bear, it was so sharp, and so shrill, 
 that is awakened her at once. Up she started; and 
 when she saw the Three Bears on one side of the bed, 
 she tumbled herself out at the other, and ran to the win- 
 dow; Now the window was open, because the Bears, like 
 good, tidy Bears, as they were, always opened their bed- 
 chamber window vhen they^got up in the morning. Out 
 the little old Woman jumped; and whether she broke her 
 neck in. the fall; or ran into the wood and was lost there; 
 or found her way out of the wood, and was taken up by 
 the constable and sent to the House of Correction for a 
 vagrant as she was, I cannot tell. But the Three Bears 
 never saw anything more of her. 
 
 216 
 
THREE BUGS 
 
 (Cary — III — 172.) This little story is a sort of concrete 
 sermon on the text.. "Live and let live." Not much effort 
 is necessary to make it clear that this is a story of hu- 
 manity rather than a bug story. What touches in stanzas 
 one and two suggest the likeness between us and the 
 bugs? While it is a very easjr thing to push one's philos- 
 ophy too far, yet it seems reasonably sure that we have 
 here a little allegory of the selfishness and competition of 
 the world and of the evils that may result. The down- 
 trodden and oppressed may turn with a fury that becomes 
 irresistible. What is the way to settle a difficulty like 
 that told of here? (Last four lines.) 
 
 THREE LITTLE PIGS, THE 
 
 (Grimm — II — 140.) The comparative value of straw, 
 sticks and bricks as building material for houses could 
 be discussed. Consider the enemies against which pigs 
 should build. Follow the fate of first, second and third 
 pigs. Make clear that the third pig escaped not because 
 he was bigger or stronger but because he used his wits. 
 Take up in order the episode of the turnips, the apples, 
 and the fair and show how the pig's wits got ahead of 
 the wolf. The grand climax of the water kettle gives 
 still further emphasis to the fact that the pig came out 
 ahead because he used the wolf's own methods, but used 
 them more skilfully than he. 
 
 THROSTLE, THE 
 
 (Tennyson — IV — 51.) The throstle is a missel-thrush 
 called by the people of Llampshire and Sussex the storm- 
 cock, because it sings early in the spring in blowing 
 weather. This poem was finished in February 1889, when 
 Tennyson was recovering from a severe attack of gout. 
 He sat in his kitchen-garden summer-house listening at- 
 tentively to the different notes of the thrush in order to 
 finnish the poem begun in that same garden years before. 
 The cadences of the bird-song are closely imitated by the 
 rapid repetition of certain sounds. The first three lines 
 
 217 
 
of the first stanza represent the song of the throstle, and 
 the last line 'the words of the listener. Follow this up 
 throughout the poem, separating the song from the com- 
 ments of the poet. What is meant in the second stanza 
 by the tine "Sing the new year in under the blue? Why 
 does the poet ask if the year is so new that the throstle 
 should carol so madly? This poem takes very careful 
 oral reading to bring out its delicate beauty. 
 
 TIGER, THE 
 
 (Blake — TV — 50.) A poem like this eludes a logical 
 analysis. Its splendid power is in its emotional value. 
 If you can succeed in inspiring a sense of mystery and 
 awe in the contemplation of this marvelously fashioned 
 creature, you have done what is most valuable to the 
 child. Have you ever seen a cat's eye in the dark? 
 Imagine what it would be to discover a pair and know 
 they belonged to a tiger! In the light of this, read the 
 first two lines of the poem. Is the body of the tiger 
 unusually graceful? What is the force of "fearful" as 
 applied to "symmetry"? The second stanza suggests 
 the thought that the fire of its eyes must have been 
 caught from some mighty force in nature, and the ques- 
 tion is asked "Who has the courage to dream of chaining 
 this force, or the power to execute the idea?" In the 
 third stanza the moral is with respect to both the strength 
 and the art that could construct the heart of this creature 
 and in the same manner make its "dread" hands and feet. 
 In the fourth stanza, we have the figure of the anvil used, 
 and the problem that of forging the terrible brain of the 
 tiger. What is there in the fifth stanza to signify the 
 power of this creative intelligence that must have made 
 the tiger? What is the force of the last question in the 
 stanza? In the sixlh stanza what is the only variation 
 from the first? Wha*- is the extra significance of the 
 word "dare"? 
 
 TIMROD, HENRY 
 
 An American poet, born at Charleston, South Carolina, 
 December 8, 1829; died at Columbia, South Carolina, Oct. 
 
 218 
 
6, 1867. He was an author of considerable power. His 
 poems, with memoir by P. H. Hayne, were edited in 1873. 
 Selection: V, 233. 
 
 TO A BUTTERFLY 
 
 (Wordsworth — [V — 121.) It is truly the Nature-loving 
 Wordsworth that wrote these lines to a butterfly. The 
 habits of the poet are suggested in the first lines. It is 
 this patient sympathetic observation of all nature that 
 has always characterized the work of Wordsworth. A 
 half hour is a long time to spend watching a motionless 
 butterfly if the observer is not devoutly in love with 
 living things. What does the word "self-poised" suggest 
 to the imagination? The body of the poem is made up of 
 the meditations of the poet while contemplating the mo- 
 tionless butterfly. Tn the last four lines of the first stanza 
 is reflected the poet's wonderful sense of the joy in nature 
 and of the poetry of motion. The second stanza is an 
 appeal to the butterfly to come often to this orchard. In 
 the mind of the poet the presence of the butterfly is 
 necessary to the atmosphere "of sunshine and of song." 
 Sanctuary. A place of refuge. — What does the author 
 mean by the "days that were as long as twenty days are 
 now"? See if the child can draw upon his own experience 
 for an illustration of this statement. 
 
 TO A WATERFOWL 
 
 (Bryant — 1818 — V — 18.) In Bigelow's life of Bryant in 
 the American Men of Letters the following well-known 
 story of the inception of this poem is given: "When he 
 journeyed on foot over the hills to Plainfieid on the 15th 
 of December, 1815, to see what inducements it offered 
 him to commence there the practice of the profession to 
 which he had just been licensed, he says in one of his 
 letters that he felt 'very forlorn and desolate.' The world 
 seemed to grow bigger and darker as he ascended, and 
 his future more uncertain and desperate. The sun had 
 already set leaving behind it one of those brilliant seas 
 of chrysolite and opal which often flood the New England 
 skies, and, while pausing to contemplate the rosy 
 
 2*9 
 
splendor, with rapt admiration, a solitary bird made its 
 winged way along the illuminated horizon. He watched 
 the lone wanderer until it was lost in the distance. .He 
 then went on with new strength and courage. When he 
 reached the house where he was to stop for the night he 
 immediately sat down and wrote the lines 'To a Water- 
 fowl,' the concluding verse of which will perpetuate to 
 future ages the lesson in faith which the scene had im- 
 pressed upon him. . . . Bryant was only twenty-one 
 years of age when he wrote this poem which by many is 
 thought to be the (me they would choose to preserve, if 
 all but one of his poems were condemned to destruction." 
 — What is the question of stanza I? What is the picture 
 brought before the mind by this stanza? What thought 
 is expressed in stanza 2? Does this stanza fill out or 
 make clearer in any way the picture given? What three 
 possible destinations for the water fowl are mentioned in 
 stanza 3? What is the poet's explanation of the fowl's 
 seeming certainty of movement toward its unknown goal? 
 How does this account for the facts brought out in stanza 
 5? What end does the poet see to this toilsome journey? 
 Why does the picture which the poet has seen impress 
 him so deeply? (Because he recognizes in it an illustra- 
 tion of his own career.) What is the great lesson which 
 this poem presents? — What analogy does the poem pre- 
 sent? An analogy between the certain flight of the fowl 
 and ''the long way" (course of life). Point out all the 
 respects in which they are alike. What is the feeling 
 that the poem impresses upon the reader? — There is a 
 quiet dignity about the language that fits it for the 
 solemnity of the lesson which it is to convey. The one 
 necessary thing to do with the language is to let the at- 
 tention dwell upon each word until its whole poetic 
 significance is grasped. 
 
 TODAY 
 
 (Carlyle — V — 22.) The great mystery of time as it 
 comes out of eternity and slips into eternity again is 
 simply and beautifully expressed in this poem, The point 
 
 220 
 
to he made plain is that the "now" and today are all that 
 we have in which to live. What is the force of "blue" as 
 applied to the word "day" in the second line of first 
 stanza? In the second stanza the idea may be a trifle 
 more comprehensible if it be expressed in terms of 
 future and past. If the relentless march of time can be 
 impressed upon the pupil from a reading of the poem, 
 that is the most the teacher can expect to do. 
 
 TOM 
 
 (Woolson — IV — 21.7.) This little narrative poem is so 
 simple in construction and straightforward in its, move- 
 ment, that no particular plan of developement is neces- 
 sary. This is an excellent poem for reading orally. When 
 properly read, there is little to explain to the pupil. 
 
 TONGUE-CUT SPARROW, THE 
 
 (Anon. — III — 74.) This is a study in contrasts. On 
 the one hand we have the kind little old woman who was 
 the friend of the sparrow, her course of conduct and her 
 reward; on the other we have the shrewish old lady, her 
 conduct and her reward- Whatever helps to heighten 
 the contrast is to the point. What was the occasion of 
 the kind woman's first acquaintance with the sparrow? 
 What was her immediate reward? What was her reason 
 for hunting up the home of the sparrow? What was her 
 attitude to other animals? What was her reward? How 
 did the sparrow and his family show their gratitude, to 
 the old woman? What motive prompted her choice of 
 baskets? What was the result? What was the cross old 
 woman's motive for going to the home of the sparrow? 
 Did she have the help of animals in finding the place? 
 What kind of a reception did she have at the sparrow's 
 house? What does this indicate in the sparrow? What 
 was the cross woman's choice? What was her motive? 
 What did she get. Be careful to make plain the fact that 
 each took the consequences of her own choice. The 
 beautiful nature reaped beauty; the ugly reaped uglin 
 Some interest might be added by describing n Japanese 
 house and customs. 
 
 221 
 
TO THE RESCUE 
 
 (Cooper — V — 241.) This is a chapter from "The Spy." 
 The description of the night and the locality increases 
 the intensity of interest in the situation. A solitary wo- 
 man abroad at that time of night must have an important 
 mission. The air of mystery is intensified by her search 
 for a dwelling. Vestige. Evidence — Fix in mind the pic- 
 ture of the hut. How was it built? What evidence was 
 there in its construction that it was a hiding-place? De- 
 scribe the occupant of the hut. Surtout. A close-fitting 
 long coat — What would the situation and surroundings 
 of the occupant suggest as to his business and purposes? 
 Would you judge from his manner and from the attitude 
 of Frances that Harper was a man of influence? Cardinal. 
 A short hooded cloak. — What was the effect of the girl's 
 petition upon this man? What high praise did he render 
 her? From this speech, what quality do you consider 
 was the dominating one in his character? Dragoons. 
 Cavalrymen. Although left without a knowledge of the 
 actual outcome of the adventure, is the reader left with a 
 feeling of hope or discouragement? What incidents 
 bring about this effect? 
 
 TOURNAMENT AT TEMPLESTOWE, THE 
 
 (Scott — V — 179.) This long extract is taken from the 
 43rd chapter of "Ivanhoe." The events that lead up to 
 this judicial combat and the motives that actuate the 
 various characters can only be gathered imperfectly from 
 the part given. If the teacher is familiar with the novel 
 he should by all means tell the children enough of the 
 story to make these clear. Otherwise the dramatic ele- 
 ment in the death of the Templar will be the main value 
 to work, and this in itself is worth while. De- 
 scribe the situation as you understand it after reading 
 the opening pages. Why is Rebecca to be executed? 
 What request does Rebecca make? Why did Bois-Guil- 
 bert remain after the herald had left her? What does 
 this tell you of his motive? What excuse was adopted to 
 make it unnecessary for Bois-Guilbert to malce oath that 
 
 222 
 
his quarrel was just? Can you, however, give the real 
 reason? What champion appeared for Rebecca at the 
 last moment? What effect did his coming have on the 
 Templar? Give an account of the fight. What was its 
 result? What caused the Templar's death? How did the 
 Grand Master explain it? — As they thus conversed. A 
 group of characters awaiting the judicial combat — Cap-a- 
 pie. From head to feet. — Lists. The ground fenced off 
 for the combat. — Devoir. Duty, or service. — Oyez. Hear! 
 The introduction to a proclamation by a court official or 
 public crier. It is always repeated thrice. — Appellant. 
 One who looks to a tribunal, in this case the appeal to 
 combat, for vindication. — Gage. Anything thrown down 
 as token of challenge. — Reliquary. A case for carrying 
 relics. — "Faites, vos, etc." Do your duty, brave knight. 
 — Laissez Aller. Let go! Away! — Unshriven and un- 
 absolved. Not having received the last offices of the 
 church. Explain, "Kill not body and soul!" 
 
 TOWN MUSICIANS, THE 
 
 This little narrative appeals to the child by reason of 
 the spirit of adventure in it. The fact that all four of 
 the animals escaped their doom by running away is a 
 source of great satisfaction. Make clear the point that 
 the}'- had all gotten too old for use. In the second part 
 develop the idea that these friends, by using their wits 
 and working together harmoniously, got what they 
 wanted. This pyramid of animals at the robbers' window 
 gives a very funny turn to the story and an opportunity 
 to test the pupils sense of humor. 
 
 TRAVEL 
 
 (Stevenson — IV — 40.) In this poem, the chief result to 
 be achieved is a series of pictures, vividly presented to 
 the child's mind. In the first allusion recall the story 01 
 the golden applies. (Find reference to this in "Barefoot 
 Boy"). Next comes a picture of a tropical island on 
 which are the luxuriant forests filled with gaudy colored 
 parrots. Next a scene from the adventures of "Robinson 
 
 223 
 
Crusoe" and thus through the selection. — Cockatoo, a 
 parrot with an erectile crest. — Mosque, a Mohammedan 
 temple of worship. — Minaret, a slender tower. — Flamingo, 
 a long necked, small bodied bird, having long legs and 
 web feet. — Palanquin, an Oriental conveyance borne on 
 the shoulders of men by means of poles. — Caravan, a 
 camel train in the desert. What is fitting in the adjec- 
 ture "knotty" as applied to a crocodile? The climax to 
 these pictures is the elaborate description of the deserted 
 city. Let no detail of this escape the imagination for 
 out of it will arise a true sense of adventure, the feeling 
 for which Stevenson makes the appeal. 
 
 TUCKER, E. S. 
 
 Selection; II, 20., 
 
 TWENTY-THIRD PSALM, THE 
 
 (Bible — III — 24.) One is safe in saying that this 
 wonderful, poem of faith and gratitude should be com- 
 mitted to memory, — so firmly committed that there is 
 little danger of forgetting it. Few passages in the Scrip- 
 ture have taken such hold of the human mind and found 
 their way into common speech as this. Perhaps the chil- 
 dren may be helped with the oriental and pastoral imagery 
 by simple explanation, but any theological dogmas that 
 suggest themselves in connection with it need not be im- 
 pressed upon their minds. If it is studied here in the 
 same careful manner in which any piece of literature is 
 studied, the student is on the surest road toward its 
 deeper content. 
 
 TWO FOXES 
 
 (Anon. — II — 13. ) Make it plain that the fox who 
 wanted to start a quarrel invited his brother to help him 
 in politest fox language. What had given this fox the 
 idea of quarreling? What was the first thing they tried 
 to quarrel over? Why did they not succeed? What was 
 the second thing? How did it terminate? What was the 
 real reason they could not quarrel? What is there that 
 shows the foxes to be real brothers? 
 
 224 
 
TWO POETS OF CROISIC, THE 
 
 (Browning — V — 317. ) This little prologue is evidently 
 addressed by Browning to his wife. Like many of his 
 tributes to her it suggests his sense of the insignificance, 
 the disgrace, of the world before she came into his life. 
 Notice that each stanza is the account of a change that 
 took place, of a sudden splendor that came, in the twink- 
 ling of an eye. With what depressing picture does the 
 poem open? What transformation? Give the picture — with 
 its two sides, before and after — suggested in stanza 2. What 
 transformation in his own life is portrayed in the third 
 stanza? What imagery is in your mind as you read it? 
 — Study with special care the third line of each stanza. 
 Think over them till you can see what they say. — Since 
 his wife was a famous poet, does it seem appropriate that 
 a poem about poets should thus be dedicated to her? 
 
 TYPICAL AMERICAN, THE 
 
 (Grady — V — 201.) This eloquent tribute to Lincoln 
 was a part of an address made by Mr. Grady at a banquet 
 of the New England Club, in 1886. In this address upon 
 "The New South" Mr. Grady characterized the two 
 great streams that came together in the making of the 
 American Nation. These were the Puritan and the 
 Cavalier. Out of this developed the idea of the type 
 that was strictly American. Make plain to pupils the 
 sense in which type is used. Characterize the Puritan 
 and the Cavalier. What is meant by "straightening of 
 their purposes and the crossing of their blood?" Compre- 
 hend, to grasp mentally. — Fused, mingled.— Martyrdom, 
 the dying for a cause. — Infamously, shamefully. — Conse- 
 crated, set apart. The essential feature of this selection is 
 the marvelous qualities and the masterful wisdom com- 
 bined in the man Lincoln, and reflecting what was typically 
 great in AmeHcan character. This selection c^an be 
 memorized to advantage, both by reason of the balance 
 in style and the dignified beauty in sentiment. 
 
ULYSSES 
 
 (Tennyson — V — 322.) 
 
 I. 
 
 In 1833 a crushing sorrow came into the life of Tenny- 
 son. His collegemate and closest friend — his brother-in- 
 law to be — Arthur Hallarri, died suddenly at Vienna. Hal- 
 lam was a young man of great promise and of an usually 
 attractive personality. For many years Tennyson strug- 
 gled with this grief and out of that struggle came a group 
 of great poems, including his masterpiece, "In Memoriam." 
 One brief poem, however, is more intimately connected 
 with the immediate revival from the shock than "In 
 Memoriam," — the poem "Ulysses." In the midst of the 
 deadening grief Tennyson recognized the necessity of 
 holding on to life, of taking up in some form or other his 
 burden of not allowing his loss to crush him. Speaking 
 of this poem Tennyson said:" "'Ulysses' was written soon 
 after Arthur Hallam's death, and gave my feeling about 
 the need of going forward, and braving the struggle of 
 life perhaps more simply than anything in "In Me- 
 moriam.' " 
 
 II. 
 
 So much for the need out of which the poem sprang. 
 It is a message from "out the depths" and a message with 
 no uncertain sound. Now, let us look at the material 
 used by the poet as a means of conveying his message. 
 The old story of Ulysses as told by Homer does not 
 present this incident. Ulysses had no companions left 
 when he reached home. They had all fallen by the way- 
 side in the homeward journey. He, himself, worn out 
 with years of struggle was only too glad of the oppor- 
 tunity to spend his few remaining years in peaceful effort 
 among his people. The germ of the poem will not be 
 found then in the familiar version of the Ulysses story 
 that most people know, but in the 26th Canto of Dante's 
 "Inferno." The whole passage referring to Ulysses is 
 given as found in Cary's translation: 
 
 "When I escap'd 
 
 From Circe, who beyond a circling year 
 
 226 
 
Had held me near Caieta, by her charms, 
 Ere thus Aeneas yet had named the shore, 
 Nor fondness for my son, nor reverence 
 Of my old father, nor return of love, 
 That should have crowned Penelope with joy, 
 Could overcome in me the zeal I had 
 T' explore the world, and search the ways of life, 
 Man's evil and his virtue. Forth I sail'd 
 Into the deep illimitable mam, 
 With but one bark, and the small faithful band 
 That yet cleav'd to me. As Iberia far, 
 Far as Morocco either shore I saw, 
 And the Sardinian and each isle beside 
 Which round that ocean bathes. Tardy with age 
 Were I and my companions, when we came 
 To the strait pass, where Hercules ordained 
 The bound'ries not to be o'erstepped by man. 
 The walls of Seville to my right I left, 
 On the other hand already Ceuta past. 
 'O brothers!' I began, 'who to the west 
 Through perils without number now have reach'd 
 To this the short remaining watch, that yet 
 Our senses have to wake, refuse not proof 
 Of the unpeopled world, following the track 
 Of Phoebus. Call to mind from whence we sprang: 
 Ye were not formed to live the life of brutes, 
 But virtue to pursue and knowledge high.' 
 With these few words I sharpen'd for the voyage 
 The mind of my associates, that I then 
 Could scarcely have withheld them. To the dawn 
 Our poop we turn'd, and for the witless flight 
 Made our oars wings, still gaining on the left." 
 It will be noted that not all the suggestions in this 
 passage are utilized, but that some points from the narra- 
 tive as found in Homer and Virgil are combined with 
 these. If -time permits, it would be an interesting and 
 valuable study for a class to take up these various ele- 
 ments and observe the way in which Tennyson has 
 
 227 
 
wrought them into a unity and the purpose served by each 
 detail selected. 
 
 III. 
 With these points regarding the origin and basis of the 
 poem in mind, let us turn to the poem and run through 
 it somewhat as the class must do in order to gather its 
 message. 
 
 1. Who speaks and under what circumstances? 
 
 It must be observed that the poem is dramatic in its 
 conception, — that it represents the old Ulysses at a criti- 
 cal point in his career, just as he is ready to set sail. 
 Apparently he stands near the shore and is making a 
 final address to his mariners and others before he leaves. 
 The important thing for the poet to do is to make clear 
 the motive, the purpose, back of Ulysses' action. Con- 
 sidering all the dangers and trials through which his 
 wanderings of twenty years had taken him, it would 
 seem that the most natural thing would have been for 
 him to welcome the repose which his quiet duties would 
 have brought. 
 
 2. Why is Ulysses dissatisfied? In what respect is he 
 unappreciated by his people? What kind of life has he 
 led in the past? How was he regarded in this more 
 strenuous life of the past? Notice some of the principles 
 of life stated by Ulysses in the first paragraph (lines 1-32). 
 
 W.e may observe that the poem naturally divides itself 
 into three parts. Ulysses first addresses the world, ex- 
 plaining why he can not be content to stay at home — how 
 that, to him, means stagnation. In the second part of his 
 monologue he presents Telemachus as his successor and 
 points out his fitness to rule. In the third and final por- 
 tion, he addresses his mariners, — 
 
 "Souls that have toiled, and wrought, and thought 
 with me — " 
 
 assuring them that 
 
 "... Ere the end, 
 Some work of noble note may yet be done, 
 Not unbecoming men that strove with God, 
 
 228 
 
and that while they have been made weak by time and 
 fate they are still 
 
 Strong in will 
 To strive, to seek, to find, and not to yield." 
 Perhaps the necessity of meeting whatever of life remains 
 with a brave and unfaltering heart has never found a more 
 vigorous, masuline, statement than in the first half of this 
 poem. 
 
 3. To whom does he leave his scepter? What are the 
 chief characteristics of Telemachus? Why is he well- 
 qualified for taking up the work that Ulysses leaves? 
 Notice that in all essentials his nature stands in contrast 
 to that of Ulysses. Do the words of Ulysses imply con- 
 tempt for the type of character possessed by Telemachus, 
 or do they simply recognize the fact that "it takes all 
 kinds of people to make a world?" (lines 33-43. These 
 lines are omitted from the text as given in the reader. 
 The study suggestions are included here for the sake of 
 completeness.) 
 
 4. The third division of the poem (lines 44-70) makes 
 up the direct address to his companions, those old 
 weather-beaten mariners who have survived the adven- 
 tures of the past and are now to accompany Ulysses in 
 his search for a "newer world.' - ' Why are they fit com- 
 panions for Ulysses? Notice the points in his appeal to 
 them. (If possible compare Longfellow's "Morituri Salu- 
 tamus" which contains an expression of the same kind.) 
 Observe the final statement of the purpose of the voyage. 
 In what way is the poem an expression of the unconquer- 
 able will? 
 
 IV. 
 Tennyson's Ulysses is, in fact, an embodiment of the 
 modern ''passion for knowledge; for the exploration of 
 its limitless fields for the annexation of new kingdoms of 
 science and thought." Mr. Brimley in his "Essays" says: 
 'The terse, laconic almost epigrammatic vigor of lan- 
 guage put into the mouth of Ulysses marks the man of 
 action and resource in time of danger, the man accustomed 
 to rule and to be obeyed." Mr. Stedman in his "Victorian 
 
 229 
 
Pcets" says that, "For visible grandeur, and astonishingly 
 compact expresssion, there is no blank-verse poem, equal- 
 ly restricted as to length, that approaches the 'Ulysses.' " 
 Aubrey DeVere says: "It shows us what heroism may be 
 even in old age, though sustained by little except the love 
 of knowledge, and the scorn of sloth." Carlyle said that 
 it was "Ulysses" which first convinced him that Tenny- 
 son was a true poet. And we find R. H. Home writing 
 in 1843, the year after "Uiyssses" was published: "The 
 mild dignity and placid resolve — the steady wisdom of 
 future storms — the melancholy fortitude, yet kingly resig- 
 nation to his destiny which gives him a restless passion 
 for wandering — the unaffected and unostentatious modesty 
 and self-conscious power — the long softened shadows of 
 memory cast from the remote vistas of practical knowl- 
 edge and experience, with a suffusing tone of ideality 
 breathing over the whole, and giving a saddened charm 
 even to the suggestion of a watery grave — all this, and 
 much more, independent of the beautiful picturesqueness 
 of the scenery, render the poem of 'Ulysses' one of the 
 most exquisite in the language/ " 
 
 VAN DYKE, HENRY 
 
 Poet and prose-writer. Since 1900, professor of Eng- 
 lish literature at Princeton University. He was born at 
 Germantown, Pa., November 10, 1852. Was educated for 
 the ministry and held important charges and lecturesships, 
 before he was called to Princeton. His prose work has 
 been very popular. Perhaps his most widly read story is 
 "The Other Wise Man." Other important titles are, "Lit- 
 tle Rivers," "Fisherman's Luck" and "The Ruling Pas- 
 sion." His poetic volumes are "The Builders and Other 
 Poems," "The Toiling of Felix and other Poems," "Music 
 and Other Poems." "The Poetry of Tennyson" is a 
 standard piece of criticism. 
 
 Selections: III, 6, 160; V, 92, 124, 235. 
 
 VARNEY, MINNIE T. 
 
 Selections: III, 82, 165. 
 
 230 
 
VICAR'S SERMON, THE 
 
 (Mackay— IV — 210.) A child's idea of morals is ac- 
 quired through the concrete example rather than through 
 an abstract principle. A good plan with a lesson like 
 this is to ask for illustrations of the various truths as 
 they are expressed. In the first stanza and third line, 
 where does the emphasis fall in oral reading in order to 
 express the meaning? Where in the fourth line? In the 
 second stanza and seventh line where does the emphasis 
 fall? Where in the last line? In the second stanza there 
 is a very fine moral truth to be Brought out. It is the 
 fact that conduct affects the character of the person per- 
 forming the act, much more powerfully than it does the 
 character of any one else. What is meant by a white lie? 
 How do black and white have a moral quality when ap- 
 plied to conduct? 
 
 VILLAGE BLACKSMITH, THE 
 
 (Longfellow— 1839— III— 139-) In his journal Longfel- 
 low refers to this poem as "a new Psalm of Life," and 
 again in a letter to his father as "A kind of ballad on a 
 Blacksmith . . . which you may consider, if you please, 
 as a song in praise of your ancestor at Newbury," the 
 first Stephen Longfellow having been a blacksmith. "The 
 Village Blacksmith" is one of the best examples of Long- 
 fellow's power of insight into the worth and poetry of 
 lowly themes. The simplicity of the blacksmith's char- 
 acter, its genuineness, constitutes its value for us. Notice 
 that the poem gives us in order (a) the setting (st. 1, 
 lines 1 and 2), (b) appearance of the smith (sts. 1 and 2), 
 (c) illustrative glimpses of his life sugesting the main 
 traits of his character (sts. 2-6), (d) a summary of his 
 life. Discussion of the poem may move along the lines 
 of this analysis.— Picture clearly the smith. Point out all 
 the passages that help you understand what kind of man 
 he is. (This characterization is the great thing. The 
 pupils should see that he is honest, steadily industrious, 
 reverent.' full of parental love and pride, and of tender 
 memories.) Do you admire the smith? Notice how the 
 
 231 
 
first line of stanza 7 sums up his life — and all our lives. 
 What principle stated in stanza 7 can we put into daily- 
 practice? In what sense are we all blacksmiths? (The 
 answer to this question will be an explanation of the last 
 four lines. "Life is like a flaming forge, upon which we 
 hammer out our fortunes, just as a blacksmith hammers 
 out his iron"). — Poe says: "We have (in 'The Village 
 Blacksmith') the beauty of simple-mindedness as a gen- 
 uine thesis; and this thesis is inimitably handled until the 
 concluding stanza, where the spirit of legitimate poesy is 
 aggrieved in the pointed antithetical dedtictions of a moral 
 from what has gone before." Do you agree with Poe 
 in his statement of the theme? Do you think, with 
 him, that the poem is worse for the statement of the 
 moral in the last stanza? — Point out the comparisons 
 used? What does tan (in st. 2) mean? — The children of 
 Cambridge presented the poet on his 72nd birthday with 
 a chair made of the wood of the "spreading chestnut 
 tree." If possible read to the class Longfellow's "From 
 My Arm Chair." 
 
 VISIT FROM ST. NICHOLAS, A 
 
 (Moore — III — 89.) The atmosphere in which this little 
 poem opens is the first point of consideration. Bring 
 forcibly to the imagination of the child, that perfect quiet 
 of the household and with it that perfect air of expecta- 
 tion that is reflected in the first part of the poem, and 
 that has doubtless been the actual experience of the child 
 himself. Test the understanding of certain figurative pas- 
 sages by asking pupils to paraphrase them. Such pass- 
 ages are the following: 
 
 "While visions of sugar plums danced in their heads." 
 "Had just settled our brains for a long winter's rap." 
 "The moon, on the breast of the new fallen snow." 
 "As dry leaves before the wild hurricane fly." 
 
 Lustre, splendor, glow. — Miniature, smaller than the 
 natural. — Coursers, spirited and swift horses. — Obstacle, 
 
 232 
 
something in the waj'. — Hurricane, a violent wind storm. 
 Tarnished, stained, discolored. — Droll, queer. — Elf, a mis- 
 chievous person. Ask for the names of the reindeer of 
 St. Nicholas. What is there fitting in these names? What 
 are the terms used to describe St. Nicholas? How is the 
 character as it is described in the poem consistent with its 
 mission? 
 VISIT TO THE WRECK, A 
 
 (Wyss — V — 63.) This selection from "Swiss Family 
 Robinson" describes the visit to a wrecked vessel and the 
 return trip with the spoils. What device did they have as 
 a signal for the family? Breach, gap or break. What were 
 they forced to do before they could return? What cargo 
 did they take on? What device did they invent for get- 
 ting animals back with them? What adventure did they 
 have on the way? Describe the belt and collar made by 
 Jack during their absence. Describe the evening meal? 
 What is the chief charm of a narrative like this? Com- 
 pare with the selection from "Robinson Crusoe" on page 
 42, of the fourth reader. 
 
 VOYAGE TO LILLIPUT, A 
 
 (Swift — V — 158.) This selection is a portion of a 
 chapter taken from Swift's great satire called 'Gulliver's 
 Travels." It is the larger part of the first chapter of 
 "The Voyage to Lilliput." 
 
 "Gulliver's Travels" is a story of the adventures of "one 
 Lemuel Gulliver, first a surgeon and then a captain of 
 several ships." There are four voyages in all, the first 
 of these being the "Voyage to Lilliput." This is, on its 
 face, a delightfully probable adventure, having to do with 
 a race of pigmies, but fundamentally it is a satire upon 
 the court and policy of George I and a scourge of those 
 abusing power, or outraging humanity. 
 
 The second voyage is to Brobdingnag, a land of giants 
 in which part of Swift's satire is turned toward the gross- 
 ness of humanity, as it had been against its pettiness in 
 the "Voyage to Lilliput." In the third voyage to Laputa, 
 the author turns his lash on the philosopher and pedant 
 
 233 
 
and the concerted pretences of science. The last is the 
 Voyage of the Houyhnhms. This is the least probable 
 and most revolting of the satires. In it is described a 
 race of bestial creatures, called Yahoos, painfully like 
 human beings, and ruled by a race of horses, called 
 Houyhnhmns. This is full of misanthropy and amounts 
 to a libel on human nature. 
 
 Van Dieman's Land, an island since known as Tas- 
 mania, lying south of Australia. The South Pacific Ocean 
 and the Australian Continent were very imperfectly ex- 
 pored in Swift's time, so that he violated no apparent 
 geographical probability in placing Lilliput in these seas. 
 
 There is little to develope in this straightforward uafra- 
 tive. However, the humor in various situations is valu- 
 able and the idea is evident in even the short selection 
 that nothing is great or little except by comparison. 
 
 WALDEMAR'S VISIT 
 
 (Varney — III — 165.) This is particularly good for oral 
 reading, there being a number of proper names together 
 with good dialogue to test pronunciations and expression. 
 One of the first questions that might be settled for the 
 child is that of the nationality of Waldemar's family. 
 Let the pupil tell how it is possible for Waldemar to 
 have one grandfather a German, one a Frenchman, and 
 he be an American. Out of the conversation with Walde- 
 mar before he takes his journey, make clear the points 
 relative to a trip on the ocean. Here is an excellent op- 
 portunity to give some idea of a wharf and of a steamer. 
 In the conversation that follows Waledmar's departure, 
 the important feature is the fact that the same sun, moon 
 and stars appear to his playmates that Waldemar sees. 
 How does it happen that they do not see them at the same 
 time? How does the little girl console herself for this 
 fact? The fourth feature of the lesson is the letter. 
 What time of year did Waldemar take his journey? What 
 is there in his letter to indicate it? What do American 
 children have in place of the Easter hare? 
 
 234 
 
WARD, MRS. HUMPHRY 
 
 She was born at Hobart, Tasmania, June II, 1851. She 
 was the eldest daughter of Thomas Arnold, and grand- 
 daughter of Dr. Arnold of Rugby. She married T. 
 Humphry Ward in 1872. Among her leading works are 
 "Robert Elsmere," "Marcella," "Helbeck of Bannisdale," 
 "Eleanor," 'Lady Rose's Daughter," "Marriage of Wil- 
 liam Ashe," "Agatha," a play, and "Marriage a la Mode." 
 
 Selection: III, 23. 
 
 WARNER, CHAS. DUDLEY 
 
 Born at Plainfield, Mass., September 12, 1829; grad- 
 uated at Hamilton College; studied law and practiced 
 from 1856 to i860 at Chicago. In the latter year took up 
 the practice of journalism at Hartford, Conn., as editor 
 of the "Hartford Press," later consolidated with "The 
 Courant." His work includes fiction, essays, and travels, 
 mainly. He was conducting the Editor's Study in Har- 
 pers Magazine at the time of his death in 1900. 
 
 Selection: IV, 196; V, 192. 
 
 WASHINGTON 
 
 (Byron — V — 51.) This is the last stanza of Byron's 
 "Ode to Napoleon." After a fierce indictment of such 
 greatness as Napoleon's, he asks the question constitut- 
 ing the first lines of this poem. Would there be any 
 repose in contemplating greatness like Napoleon's? Was 
 his a case of "guilty glory"? What is meant by despic- 
 able state? After considering this question, the poet 
 thinks of "one — the first — the last — the best." Why does 
 he call Washington "the Cincinnatus of the West"? [For 
 the appropriateness of the term read article on page 139 
 of fifth reader.] Does envy usually cause hate? Why 
 was this not true in the case of Washington? "One" is 
 the subject of the verb "bequeathed." Why should man 
 blush because there was but one? 
 
 WATER LILY, THE 
 
 (Anon. — II — 23.) This story of the origin of the 
 water lily in the little Indian legend is very beautiful and 
 
 235 
 
is of the sort that is easily spoiled by over-analysis or 
 too literal interpretation. There is nothing more awe- 
 inspiring to the mind of a child than a star. By taking 
 advantage of this stimulation of the imagination of the 
 pupil, when his mind is keenly awakened to the beauty of 
 the star, question him as to why a star should wish to 
 come down to earth to live. Why should it appeal to 
 little Mesha as to where it should make its home? What 
 was Mes.ha's first suggestion? W r hy did being near the 
 blue sky seem an inducement to Mesha? Why did the 
 star chose the heart of a wild rose as its home? Why 
 was it not content there? What was the second choice 
 of the star? Why was it not content there? What was 
 the star's final choice? What were the reasons for this? 
 In what way does the changing of a star into a water lily 
 seem fitting? 
 
 WATER-LILY, THE 
 
 (Roche — V — 69.) This is a very fine expression of the 
 two phases of human life. The poet has made the 
 water-lily the type of human life. The roots and stem 
 represent the external sordid expression of the merely 
 material phase. The blossom and leaves typify the in- 
 ner or spiritual manifestation of this same life. The 
 seeming contradiction in the two phases is set forth by 
 grving the points of view of two groups of observers of 
 the pond-lily. What constitutes the first group? What 
 is fitting in the character of these observers? How does 
 the term "gelid" harmonize with the thought of the 
 stanza? What viewpoint of life does this group reflect? 
 What constitutes the second group? Show in what way 
 the second group differs in character from the first? What 
 viewpoint does the second group reflect? Be very care- 
 ful to give proper significance to the word "vulgar" in 
 second stanza and the word "vile" in the fourth. What 
 is the significance of the term "virgin gold"? Why speak 
 of a soul as "fragrant"? The last stanza suggests the 
 difference between the human and the divine estimate of 
 a life. — Mere, a pond or small lake. — Gelid, cold, icy. 
 
 236 
 
WATERLOO 
 
 (Hugo — V — 251.) The account of the battle given here 
 is made up of extracts taken from Hugo's "Les Miser- 
 ables", Book II, While the accuracy of the account has 
 been questioned in some particulars and while Hugo's 
 estimate of the results or philosophy of the struggle 
 are not always accepted, no one questions the wonder- 
 ful descriptive power of the writer. The vividness with 
 which the various divisions move before the imagina- 
 tion invests the whole with a reality that holds 
 the reader and impresses him with the importance of this 
 final tragic act in the great drama of Napoleon's career. 
 This battle has been called "the most momentous vic- 
 tory ever won by the British arms, and the most happy 
 in its results." It may be interesting to notice that it oc- 
 curred exactly six centuries to a day after the signature of 
 Magna Charta by King John. It is the last of the series 
 treated by Creasy in his "Fifteen Decisive Battles of the 
 World" and a reading of his account would be a good 
 preparation on the part of the teacher toward under- 
 standing the selection given.. If possible read the whole 
 of the account in Hugo. The many names of persons 
 found are mainly those of subordinate commanders and 
 need not detain the class for any investigation. The 
 context shows to which side they belong and the interest 
 should center in the moving masses rather than in these 
 single figures. An account of some of the principal char- 
 acters such as Wellington, Napoleon, Blucher, Ney, etc., 
 will be helpful and interesting. The gography should be 
 clearly in mind. The outline of Napoleon's plan of battle 
 should be seen first and then another diagram to illus- 
 trate the actual fight may be drawn on the board on 
 an enlarged scale as given in "Les Miserables." Then 
 let the pupil keep track of the movements as he de- 
 scribes or reads. — What determined the results at Water- 
 loo? What was Napoleon's plan of battle? Explain the 
 arrangement of the ground on which the battle was 
 fought. What impression do you have of Wellington 
 from Hugo's account? Of Napoleon? What seems to be 
 
 237 
 
the climax of the struggle? What finally turned the tide 
 in favor of the English? Mention some of the happenings 
 that seem especially dramatic and terrible. What feeling 
 do you have toward Napoleon at the close? — Cressy, 
 Poiters, Malplaquet and Ramillies. Four great victories 
 of the English over the French, the first two won by Ed- 
 ward, the Black Prince, the last two by the Duke of 
 Marlborough. Cressy has been called "the greatest vic- 
 tory ever won." — Marengo Agincourt. Two battles, 
 
 in the first of which (1800) Napoleon defeated the Aus- 
 trians, and in the second of which (i4!5) the English de- 
 feated the French. The "man of Marengo" is of course 
 Napoleon. — "Vive PEmpereur!" Long live the Emperor. 
 — Debouched on the plateau. Marched out, or issued 
 forth upon the plateau. — Cuirassiers. The French heavy 
 cavalry. — Abatis. An entanglement of fallen trees. — ■ 
 Decimated. Destroyed one out of ten. — Somnambulist. 
 One who walks in his sleep. 
 WEBSTER, DANIEL 
 
 Born at Salisbury, New Hampshire, January 18, 1782; 
 graduated at Dartmouth; studied law; was admitted to 
 the bar in 1805 and soon made a reputation as a lawyer 
 and orator which placed him at the head of the profession; 
 was a member of Congress from New Hampshire in 
 1813 to 1817 and from Massachusetts 1823-7. In the 
 latter year he became United States Senator from Mas- 
 sachusetts. He was Secretary of State under Harrison 
 and Tyler and again under President Fillmore. From 
 1845 to 1850 he was in the Senate. During this sec- 
 ond term in the Senate Webster made his great speech 
 in answer to Col. Hayne of South Carolina. Webster 
 alienated many of his Northern friends by his compro- 
 mise in 1850 which was pretty generally regarded as a 
 bid for the presidency. His Bunker Hill orations and 
 that on the anniversary of the landing of the Pilgrims, 
 are the most famous of his public speeches. Died at 
 Marshfield, Mass., October 24, 1852. Life in American 
 Statesmen Series. 
 Selection: V, 275. 
 
 238 
 
WHAT DO WE PLANT WHEN WE PLANT THE 
 TREE? 
 
 (Abbey — IV — 249.) This poem is very simple and di- 
 rect in its style. Its theme is that of the great interde- 
 pendence of all life. The far-reaching results of the plant- 
 ing of a tree are given (1st) in the various parts that go 
 to make up a ship, (2nd) in the various parts that go to 
 make up a house, and (3rd) in a miscellaneous little 
 group of the things "we daily see." The child's imagina- 
 tion can be drawn upon for a larger list of things which 
 have been contributed by the tree, and greater force given 
 to the thought of our social interdependence by suggest- 
 ing the various hands through which the tree has passed 
 before reaching the final product. 
 
 WHAT MAKES A NATION? 
 
 (Nesbit — V — 279.) In this poem, the writer endeavors 
 to show that it is not external material things that con- 
 stitute a nation, or that make it strong, but the common 
 inner faith that animates the life of all. In the first 
 stanza the question, is asked if boundary lines are what 
 make a nation. Note the figure in the second line. The 
 conception of measuring a nation's girth on the silent 
 hills or on the prairie floor gives the sugestion of vast- 
 ness. In the second stanza the question is asked as to 
 what of external equipment it takes to make a nation 
 strong. Note the second line in this stanza, and explain 
 the source of its beauty. Why are the terms "flaunt" and 
 "racing" harmonious with the thought? — Screed, a strip. 
 In the third stanza the answer to the first is suggested 
 in the form of a question — "Is it the great common heart 
 which beats in all her sons," etc? In the last stanza the 
 question in the second is answered. Is it a material or a 
 spiritual force that makes a nation great? 
 
 WHAT THE WIND DOES 
 
 (Anon. — II — 10.) The idea in this selection is not dif- 
 ferent from that in the preceeding poem ("The Wind") 
 and much the same manner may be employed in its pre- 
 
 239 
 
sentation. In addition to the mystery of the wind as ex- 
 pressed by Stevenson, we have the idea of the wind's 
 utility. What are the different ways spoken of in which 
 the wind works? Have the child add to the list of its 
 uses. 
 
 WHEN THE DOGWOOD BLOOMS 
 
 (Lounsberry — III — 183.) An adequate idea of the dog- 
 wood bloom is the first step in the presentation of this 
 lesson. If it is in season the actual bloom should be 
 called into service. If not, a picture will have to serve. 
 The beauty of the bloom and the perfection of the tree is 
 the point to be emphasized. Make the child understand 
 that trees and plants have an individuality and that mu- 
 tilation does violence to that individuality. In order to 
 impress the dignity of the life of trees, it would not be 
 amiss to tell something of the extent to which tree sur- 
 gery is practiced to save the lives of trees. Grandmother's 
 sentiment is the first step in the process of awakening a 
 sympathy for the tree. What is her remedy for this so- 
 called cruelty? Did the remedy hold good in Phillip 
 Todd's case? What are the steps in his awakening to a 
 love for the dogwood tree? How does the last sentence 
 in the selection sum up the meaning of the whole? 
 
 WHEN LINCOLN WAS A LITTLE BOY 
 
 (Anon. — II — 129.) This lesson may be made interest- 
 ing and effective by carrying along with the events of Lin- 
 coln's life and the condition which he found in his new 
 home, a comparison with the situation a boy of the pres- 
 ent day would face in moving to Indiana from another 
 State. Consider, first, the modes of travel. It was be- 
 tween seventy and eighty miles from the old home to 
 the new. How long did it take the Lincolns? How long 
 would it likely take at the present time? Secondly, con- 
 sider the home and its equipment. Compare it with the 
 average or even the poorest farm house of to-day. In 
 the third place, take up the matter of education. Con- 
 sider school facilities and the matter of literature. How 
 
 240 
 
is the question of distances solved now for the boy going 
 to the country school? Emphasize the story of Lincoln's 
 first book. Why did he so thoroughly appreciate the 
 book? Does the undergoing of hardship necessarily pro- 
 duce greatness? What is the real connection between 
 hardship and greatness? 
 
 WHERE DO THE BIRD'S SLEEP? 
 
 (Sharp— V — 90.) This selection is so simple in idea 
 and style that the pupil can have no trouble in following 
 it. The expression, "The wild symphony of the winds," 
 should be made clear. What is a symphony and why 
 should the noise of the winds be referred to as a "wild 
 symphony"? Call attention to the figure of speech in the 
 third paragraph in the description of the pines. 
 
 WHITTIER, JOHN GREENLEAF 
 
 Born near Haverhill, Mass., December 17, 1807; early 
 education was scanty. He displayed great activity in the 
 anti-slavery cause and in writing poems and newspaper 
 articles bearing upon this movement. His range of sub- 
 jects and his powers of expression were somewhat lim- 
 ited, but his work is distinguished by rare melody and 
 sincere feeling. His "Snow Round" has often been com- 
 pared to Burns' "Cotter's Saturday Night." Died at 
 Hampton Falls,, New Hampshire, September 7, 1892. The 
 authorized editions of his works are published by Hough- 
 ton, Mifflin & Co., Boston, Mass., while his "Life and Let- 
 ters" by Pickard, in two volumes, are issued by the same 
 house. Linton's life in the Great Writers series is a sat- 
 isfactory short sketch. 
 Selections: III. 88; V, 44- 
 
 WHITMAN, WALT 
 
 Born at West Hills, Long Island, May 31, 1819; began 
 life as a printer, spending a great deal of his time min- 
 gling with the working people; was editor of the "Brook- 
 lyn Daily Eagle" for a brief period, and an ocasicnal 
 contributor to many other periodicals. His first book, 
 "Leaves," appeared in 1856. During the war he served as 
 
 241 
 
a volunteer nurse in the army hospitals, afterwards was 
 employed as a government clerk in Washington until 
 1875. About this time he moved to Camden, New Jer- 
 sey, where he lived until his death, March 26, 1892. "Leaves 
 of Grass," "Drum Taps" and "Specimen Days and Col- 
 lect," are his chief works. His failure to observe the or- 
 dinary rules of poetic construction is the distinguishing 
 mark in the form of his work, the one striking exception 
 to this general rule being the selection "Oh, Captain! My 
 Captain," found in V, 198. Whitman's collected works are 
 published by Small, Maynard & Company of Boston, 
 Mass. Perhaps the most sympathetic study of Whitman 
 is that by John Burroughs. 
 
 WHO OWNS THE MOUNTAINS 
 
 (Van Dyke — V — 235.) This passage is taken from Dr. 
 Van Dyke's "Little Rivers," a book that is full of the 
 love of the great out-of-doors. It is a splendid sermon 
 on the nature of true ownership. What incident led to 
 the line of thought presented? What does the law say 
 about the kinds of property? What is the difference be- 
 tween them? What does Dr. Van Dyke mean by saying 
 that all property is personal? Can you locate the familiar 
 passages in the Bible upon which the two questions in 
 the 7th paragraph are based? Do you notice that they 
 are not questions after all? Explain. Contrast the true 
 and false measure of success. Show how the last sen- 
 tence sums it all up. — Unearned increment. A term used 
 much in political science, meaning the increase of value 
 resulting from general causes, as distinguished from that 
 due to the labor or improvement put upon the land by its 
 individual owner. 
 
 WHY DO BELLS FOR CHRISTMAS RING? 
 
 (Field — III — 100.) The Christmas story is likely to 
 make its strongest appeal to the young child when em- 
 phasized as the celebration of a real birthday. Test the 
 child's actual knowledge of the event. Make the facts 
 as real to him as possible. Where was Christ born and 
 when? How did the star figure in the story? Why was 
 
 242 
 
the cradle of Christ in a manager? What is meant by 
 holy? A greater S3 r mpathy can be enlisted and a larger 
 sense of reality in the birthday celebration impressed on 
 the pupil's mind by emphasizing the human phases in the 
 holy child's life that are common to all children. 
 
 WIDOW WIGGINS' WONDERFUL CAT 
 
 (Eggleston — IV — 92.) The generous use of allitera- 
 tions makes the selection particularly useful for oral read- 
 ing. The unexpected interjection of alliterative passages 
 gives excellent drill in both enunciation and pronuncia- 
 tion. After reading the entire selection orally, develop 
 through a series of questions the characteristics of the 
 various persons in the story. What kind of woman was 
 the Widow Wiggins? What kind of woman was Mrs. 
 Vine? What of Mr. Slick, Tilda Tattle, Deacon Petti- 
 bone, Mrs. Pettibone and Tom? How did the widow's cat 
 behave with the various persons? Why did the cat 
 change its behavior with the deacon? What was the 
 effect of this change? Explain the parable of the Prodi- 
 gal Son and show its connection with the deacon's ex- 
 perience. What did the deacon hear mewing within 
 him? 
 
 WILLIAM TELL 
 
 (Anon. — II — 91.) This lesson should be read through 
 carefully by pupils before any attempt is made to de- 
 velop the meaning. A comparison between Gessler and 
 Tell is a good way to prepare for the outcome of the in- 
 cident. What was Gessler's chief characteristic? What 
 actions bear this out? What was Tell's chief characteris- 
 tic? What actions prove this? In the test to which Tell 
 was put was it his skill alone that was responsible for his 
 sucess? What quality in the boy made this episode pos- 
 sible? How does the arrow secreted under Tell's coat 
 further show the character of the man? 
 
 THE WIND IN A FROLIC 
 
 (Howitt — IV — 90.) The light mood of the poem is the 
 first feature to impress upon the pupil. If this be lost, 
 
 243 
 
there is no point to the poem. From, the first sweep of 
 the wind to the final climax of "his hat in a pool and his 
 shoe in the mud," there is no suggestion of violence. 
 The sly humor in the various situations must be made 
 evident. Develop a series of pictures in which the victims 
 of the wind's pranks are described and see to it that no 
 humorous touch is omitted. Ask for a list of the wind's 
 pranks that appeal to the sense of hearing and another 
 of those acquired by the sense of sight. 
 
 WIND, THE 
 
 (Stevenson — II — 9.) The child's point of view of a 
 natural phenomenon is put forth artistically in this poem. 
 Since it is from the viewpoint of the child that the wind 
 is considered, the following of the poem sympathetically 
 as the points develop is the logical plan in presentation. 
 It is presumably a child who is talking to the wind. What 
 line in the poem clearly shows this to be true? By what 
 experience has the child become aware of the wind 
 through the sense of sight? By what experience has it 
 become aware of the wind through the sense of hearing? 
 By what through touch? In spite of this sense knowl- 
 edge what is the final question in the mind of the child? 
 If this selection leaves the pupil with a sense of the 
 subtle beauty, and mystery of the wind, it has accom- 
 plished its purpose. 
 
 WINTER NEIGHBORS 
 
 (Burroughs — V — 126.) This selection is a portion of a 
 chapter entitled "Winter Neighbors," from a volume called 
 "Signs and Seasons." In order to fully comprehend the 
 spirit of the author the introductory paragraphs of the 
 chapter should be read. Some information as to the 
 winter habits of birds is desirable. One very evident 
 point to be made is that of adaptation among animals. 
 Marshal all the data in this selection by which" this point 
 can be emphasized. W T hat were the two modes em- 
 ployed by the owl for his protection? Is it true of most 
 animals that the aggressive method is resorted to as a 
 final resource? The great end to be attained is the awak- 
 
 244 
 
ening of a keener sympathy and more accurate observa- 
 tion of animal life. The reading of the entire chapter 
 to the pupils would probably be a legitimate aid. 
 
 "WITH WHOM IS NO VARIABLENESS, NEITHER 
 SHADOW OF TURNING" 
 
 (Clough — IV — 220.) In the epistle of James, first chap- 
 ter, and seventeenth verse, find the complete sentiment 
 from which the title of the poem is taken. The idea is 
 that of the Infinite as opposed to the Finite. The con- 
 templation of the absolute and its unchanging order, as 
 compared with the limitations of the brief span of a hu- 
 man life is the object of the poem. This can be accom- 
 plished only relatively and that by dwelling upon the 
 great natural processes in such a manner as to suggest 
 the infinitude of space and time. Draw upon astronomy 
 for the idea of space, and of an order in which there is 
 no variableness. From geology illustrate the great 
 reaches in time, through which purposes have been car- 
 ried out. Nature's kindness of adaptivity may be shown 
 in the green of the grass and blue of the sky. If the 
 teacher succeeds in bringing to the child a degree of 
 consciousness of the insignificance of the individual as 
 compared to the larger life of the universe, he will strike 
 the large point. 
 
 WOLF AND THE KID, THE 
 
 (Aesop — III — 56.) A series of questions must be asked 
 to bring out the essential qualities of the two animals. 
 The difference in habits and disposition must be made 
 clear before the child can see the fallacy in the kid's posi- 
 tion. That courage is a matter of the spirit and not the 
 result of fortunate circumstances is the point to be ac- 
 complished. A homely illustration of the boy who is a 
 bully may be made to serve in this connection. 
 
 WOODWORTH, SAMUEL 
 
 An American journalist and poet, born at Scituate, 
 
 Mass., in 1785; died at New York in 1842. After 
 
 an apprenticeship in a printing office he published a 
 
 245 
 
paper at New Haven, Conn., in 1807. During the war oi 
 1812, he conducted a weekly paper called "The War," and 
 later assisted m founding the "New York Mirror." He 
 published a good deal of verse as well as operettas. He is 
 remembered for his song, "The Old Oaken Bucket." 
 Selection: IV, 139. 
 
 WOOLSON, CONSTANCE FENIMORE 
 
 Born at Claremont, New Hampshire, March 5, 1838; 
 spent her early life at Cleveland, Ohio; lived about ten 
 years in the South along the Atlantic coast until 1879, 
 when she went to Europe, residing principally in Italy 
 until her death, Jan. 24, 1894. She was the author of a 
 number of novels in addition to a large amount of mag- 
 azine work. 
 
 Selection: IV, 217. 
 
 WORDSWORTH, WILLIAM 
 
 Born at Cockermouth, in Cumberland, England, in 
 1770. His early education was received at Hawkshead 
 grammar school from which in 1787 he went up to St. 
 John's College, Cambridge. It was in the days at Hawks~ 
 head that Wordsworth acquired the great love of nature 
 that characterized all his work and made him a poet. His 
 later experience at Cambridge did little to modify his 
 philosophy of life acquired in his lonely haunts about 
 Hawkshead. During the French Revolution his en- 
 thusiasm took him to France, where he identified himself 
 with the Girondists. Later, however, his political faith 
 swung back and he became a strong conservative. It was 
 in the fifteen years following this mental readjustment 
 thai Wordsworth wrote his best poetry. When about 
 thirty he returned to the lakes never to leave them for a 
 great length of time. In 1802 he married his cousin, 
 Mary Hutchinson, who together with his invalid sister, 
 Dorothy, became his constant companions for the thirty- 
 seven quiet years of literary work that followed. A few 
 friends, among whom were Southey, Coleridge and De 
 Quincey frequented his simple home. In 1843, Words- 
 
 246 
 
worth was appointed Poet Laureate to succeed Southey, 
 and in April 23, 1850, he died at Rydal Mount. 
 
 In his poetry Wordsworth completed the return to 
 nature begun by Thomson, and continued by Cowper and 
 Burns, his favorite theme being the influence of nature 
 on man. He held that the humblest subjects treated in a 
 natural manner were suitable for poetry, while he dis- 
 carded the conventional diction that had grown up in the 
 eighteenth century. The "Lyrical Ballads," written in 
 company with Coleridge, was published in 1798. "The 
 Excursion," written in 1814, is probably the finest of 
 Wordsworth's work. The most satisfactory edition of 
 the work of the author is that edited by Professor Wil- 
 liam Knight. For the general reader, the cream of Words- 
 worth is found in a little volume of selections edited by 
 Matthew Arnold. A good brief biography and criticism 
 is that by F. W. H. Myers in the English Men of Letters 
 series. 
 
 Selections: IV, 121; V, 249; V, 263. 
 
 WORK AND SORROW 
 
 (Baldwin — III — 152.) The deepest impressions of the 
 hardships of pioneer life such as is described in the se- 
 lection may be made by comparing modern rural life, 
 modes of travel and forms of industry with those of Lin- 
 coln's boyhood. Make a point of the fact that even the 
 roads had to be cut part of the way. 
 
 WYSS, JOHANN RUDOLF 
 
 Born at Bern, March 13, 17.81, and died there March 31, 
 1830. He was a Swiss author, professor of philosophy and 
 chief librarian at Bern. His best known work is "The 
 Swiss Family Robinson," written in 1813. 
 
 Selection: V, 63. 
 
 YELLOW WING 
 
 (Anon. — III — 175.) The main feature of this selection 
 is the impression it gives of the new life in nature. The 
 fact that Yellow-Wing was born on Easter Monday is 
 significant. While the facts relative to Easter may be set 
 
 247 
 
JAN 5 19 ^ 
 
 forth, the great significance to the child is the resurrec- 
 tion of the living things about him. A strong appeal can 
 be made to his sense of color and motion in this descrip- 
 tion of nature. The vividness of the picture left in the 
 child's mind of the various objects suggested, with their 
 corresponding actions, is the measure of success of the 
 presentation of the lesson. 
 
 ZITKALA-SA 
 
 A Yankton Sioux, born in Dakota. She was educated 
 at White's Institute, Wabash, and Earlham College, Rich- 
 mond, Indiana. She taught two years in an Indian school 
 in Pennsylvania. For a study of her people she has lived 
 among the Indians of Dakota and Utah. Her leading 
 work is "Old Indian Legends." 
 
 Selection: IV, 35. 
 
 Qs £9 
 
 C 8 84 <* 
 
 248 
 

 
 
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