MM

s of method not fully treated befor

gested as a sort of moral at the close. Likewise in the "Pied Piper of Hamelin," and in Burns's "Tam O'Shanter." In "Glaucis and Philemon," as well as in "The Golden Touch," even a child can quickly discern the controlling idea of the myth. But in many of our choicest literary products it requir

wer, that grow's

usty road with

in the sec

's largess which

or alike, with

opics, the full promise of summer, the pure joys of childhood, the common loving courtesie

n burst forth out of common things and from the hearts of common men and women, we realize that the poet has brought us to the p

not made by a superficial or

study of Lowell's poem, "An Incident in a Railroad

did poe

heaven to

ld pierce throug

of coar

and continuity, reveals to us an interesting process of mental elaboration and

ng for themselves, and that too even in the longer classics like "Evangeline," "Enoch Arden," "S

h move in the direction of the main truth, toward the solution of the chief problem. But let the questions be shrewd, not revealing too much, stimulating to thoughtfulness and heading off errors. To what extent shall

men was his large, liberal temper, displayed on many various occasions. It reminds the mature student of that remarkable utterance of Burke, "Great affairs and little min

le strut and slovenly mediocrity of much in American life,-and over against this the splendid promise, manliness, and intense idealism of our national life. To work out this conception in the brains of y

assages which go straight to the intelligence of boys and girls in school. The plan of this series forbids the use of extracts, or many numbers might be filled with striking and appropriate passages from Emerson's writings; but there are certain essays and addresses which, though they may contain some knotty sentences, are in the main so interesting to boys and girls who have begun to think, they are so inspiring and yield so much

dy of our teachers take hold of our great American classics in this determined sp

a teacher's wit and wisdom are brought to the severest tes

t prudent, of

hed wit an

ouch the pupils' deeper thoughtfulness in preparing the lesson and stimulate his self-active effort, are needed. If the teacher has become keenly interested, he will ask more telling questions. If he has probed into the author's secret,-the thing which he has b

shrewd anticipation, questions which cannot be answered offhand

ely at words and assuring yourself of their meaning, syllable by syllable,-nay, letter by letter." Again he says, of a well-educated gentleman, th

akable, I quote at length a passage

y; and see what will come out of them. I will take a book perfectly known to you all; no English words are more famil

me, and l

of the Gal

s he bore of

pes, the iron

tred locks, and

have spar'd for t

as for their

ude, and climb

they little

ramble at the

y the worthy

t scarce themselv

have learn'd augh

ithful herdsma

em? What need th

ist, their lean

crannel pipes of

ep look up, an

wind, and the ra

and foul con

the grim wolf

apace, and n

this passage, and

h: only little men do that. Milton means what he says; and means it with his might, too,-is going to put the whole strength of his spirit presently into the saying of it. For though not a lover of false bishops, he was a lover of true ones; and the lake-pilot is here, in his thoughts, the type and head of true episcopal power. For Milton reads that text, 'I will give unto thee the keys of the kingdom of Heaven,' quite honestly. Puritan though he be, he would not blot it out of the book because there have been bad bishops; nay, in order to understand him, we must understand that verse first; it will not d

ek ecclesiastical power. First, those who 'creep' into the fold; who do not care for office, nor name, but for secret influence, and do all things occultly and cunningly, consenting to any servility of office or conduct, so only that they may intimately discern, and unawares direct the minds of men. Then those who 'intrude' (thrust, that is) themselves into the fold, who by natural ins

go

e they little

ramble at the

d mo

expression; a broken metaphor, one m

ase and remember it. Those two monosyllables express the precisely accurate contraries

eans a pers

means one

aracter a man can have

nstead of feeding, to want

has not so much as numbered the bodies of his flock. The first thing, therefore, that a bishop has to do is at least to put himself in a position in which, at any moment, he can obtain the history from childhood of every living soul in his diocese, and of its present state. Down in that back street, Bill, and Nancy, knocking each other's teeth out!-Does the bishop know all about it? Has he his eye upon them? Has he had his eye upon them? Can he circumstantially explain to us how Bill got into the habit of beating Nancy about the head? I

nd it was Milton's. They may be right, or we may be; but we must not think we

go

wind, and the ran

poor are not looked after in their bodies, the

d.' The same word is used in writing. 'The wind bloweth where it listeth;' and 'So is every one that is born of the Spirit,' born of the breath, that is, for it means the breath of God, in soul and body. We have the true sense of it in our words 'inspiration' and 'expire.' Now, there are two kinds of breath with which the flock may be filled; God's breath and man's. The breath of God is health and

poses both the keys to be of the gate of heaven; one is of gold, the other of silver; they are given by St. Peter to the sentinel angel, and it is not easy to determine the meaning either of the substances of the three steps of the ga

the perpetual prison house. And that prison opens here as well as hereafter; he who is to be bound in heaven must first be bound on earth. That command to the strong angels, of which the rock-apostle is the image, 'Take him, and bind him hand and foot, and cast him out,' issues, in its measure, against the

d examination of your author which is rightly called 'reading,' watching every accent and expression, and putting ourselves always in the author's place, annihi

g process to bring such similar passages to a definite comparison. Even where the same topic is treated differently by two authors, the different or contrasted points o

iliar passages, touching the winter snow-storm and the

of a snow-storm in "Sno

by any s

y darkened

e hoary wit

nce of the b

wavering

recrossed th

e early be

ft piled the

e glass the cl

e tall and sh

long the sto

g broke wi

erule trace

's geomet

flake an

e hoary me

he second m

upon a wor

we could ca

glistening

alls of th

bove, no e

e of sky

miliar sig

shapes; strange

e sty or cor

wall, or b

mound the bru

drift what o

-post an o

ng coat and hi

rb had a Ch

long sweep,

splendor, s

leaning

reside joy i

m all the wo

lean-winged

let the nor

rage at pan

ed logs bef

ne back with

when a l

and rafter

up its roa

oat of the ch

og on his p

fire his d

rk silhouett

tiger's see

e winter fi

andirons' st

cider sim

sputtered

t hand, the

om brown Oct

r how the n

how the nort

low low, not

ur hearth-fire

ldren in previous study, the reading of Emerson's "The Snow-Storm,"

all the trumpe

w, and, driving

to alight: t

woods, the river

farmhouse at t

veller stopped,

ends shut out, t

adiant firep

uous privac

he north wi

nseen quarr

h tile, the f

e bastions with

dward stake, or

myriad-handed,

so savage, no

r proportion

nel he hangs P

rm invests the

rmer's lane fro

mer's sighs; a

urret overto

urs are numbere

n, retiring,

he sun appears

ow structures,

e, the mad win

rchitecture

in both authors, in the objects about the farmhouse, while t

character is the description in the Prelude to

chill wind from

five thousan

ld and hil

thered al

ike sleet on the

a shiver

fed boughs and

ok heard it an

could house hi

he white stars

arches and ma

lear were his

of light that

ed every su

and chambers

is tinkling

a frost-leave

aisles of stee

counterfe

he roof no

mosses that

was carved in

rabesques of

was simply sm

of heaven to shin

t the noddin

thickly with

ed the beams o

a star of

ilder's most

this winter-

very image th

serene through

g shadow of

py model sho

micked in f

n builders

ll are the son

Christmas glow

is every cor

some green of

eep gulf of t

Yule-log's r

ame-pennons

tug as a fla

shrills the

th in its gal

tle troops of

ow scattering

he soot-forest

s of star

the poets in picturing nature's handiwork cannot be better seen than in these passages. It is hardly worth while

eep gulf of th

Yule-log's r

h t

up its roar

oat of the ch

s in earlier studies, are very frequen

rson, in "Waldei

ount the ho

ring by

is my loy

d it us

he "Apology

not unki

alone in gro

he god of

his wor

, in "The

ng years ago

o wander

idle schoolb

ld die ere

frosty eld

gray head to

rize the l

ong the tree

t I have gai

ooks or study-

ittier

, innocent

lore of fiel

t teachers

's unhous

ct to gather up kindred thoughts out of previous studies and mingle them with the newer influx of radiant ideas from master minds is a fruitful mode of assimilating and compounding knowledge. It may be advisable at times for the teacher to brin

ters gives an intensity and realism to the thought that cannot be effected in any other way. In some cases it

d participating in them. It gives scope to their natural tendency toward action, rather than repose, and proper verbal expression is more easily sec

description of dr

s individual should, in sex, age, and figure, meet as near as may be the prevalent conceptions of his fictitious original, nay, assume his entire personality; that every speech should be delivered in a suitable tone of voice, and accompanied by appropriate action and gesture; and that those external circumstances should be added which are necessary to give the hearers a clear idea of what is going forward. Moreover, these representatives of the creatures of his imagination must appear in the costume belonging to their assumed rank, and to their age and countr

ntarily puts on a resemblance to them in his gestures. Children are perpetually going out of themselves; it is one of their chief amusements to represent those grown people whom they have had an opportunity of observin

ion and Dramatic Insti

g the use of dialogues for its education. There are those who think that all hist

. No child was ever born with any mind at all, that had not some of this instinct; and the more promising the child, the more is it dramatic and imaginative. Dramatic instinct is universal. I

en? Because the struggle to read Shakespeare would get the minister out of himself. The struggle to realize how men of different types of character would speak certain things would make him conscious whether he, himself

ssion of faith. The question is how to cultivate such a resourceful imagination. The literature of the creative imagination is felt to be the

urry

one mind into another. The man who has killed his dramatic instinct has become unsympathetic, and can never appreciate any one's point of view but his own. Dramatic instinct endows us with broad conceptions of the idiosyncrasies, beliefs, and convictions of men. It trains us to unconscious re

om narrowness and selfishness; they enable the individual to appreciate the point of view, the feelings, motives, and characters of his fellow-men; they open his eyes to read the various languages of human art; they enable him to commune with his kind on a higher plane

fulfilment of all the dramatic conditions lends an impetus and genuineness to every word that is spoken. It has been often observed that boys and girls whose reading is somewhat expressionless become dir

possible. This is the significance of outdoor excursions, of experiments, laboratories, and object work in nature study. In geography and

ren should become themselves the vehicles for the expression of these ideas. The school is the place where children should become the embodiment of ideas. It would be a grand and not impractical scheme

ies; for the purposes of universal education, is it not of equal importance that children become skilled in the histrionic art, in the apt interpretation and expression of good manners, in that deeper social insight and versatile tact which are the constructi

study, with theoretical knowledge derived from books. They demand that knowledge shall pass over into some sort of practice and use. Reading passes naturally and without a break from the interpretation of life to its embodiment in conduct. In this important respect it is the most practical of all studies. Its subject matter, derived from literature, consists largely

dramatic representation, it is not at all extravagant to say that the average child will have far more use for this r

the value usually attributed to manual tra

ldren. Our purpose, however, in the fuller discussion and emphasis of the dramatic element is to suggest a more liberal employment of dramatic

f purely dramatic works. "The Merchant of Venice" and "Julius C?sar" are well adapted to seventh and eighth grades, and there are many selections in which the dialogue is an important

Mifflin, & Co. Longfellow's "Giles Corey of the Salem Farms," in the "Riverside Series," is a drama well suited to si

ady Margaret," "Robin Hood and the Widow's Sons," "King John and the Abbot of Canterbury," and many others. The R

dramatic element in a large portion of it, and the cultivation of this spirit

nt of the

s literature. For the sake of illustration, therefore, we will enter upo

he Old World," in which "The Adventures of Ulysses" forms a chapter. A good short treatment of the story in simple language. (Ginn & Co.)-"Ulysses among the Ph?acians," consisting of selections from five books of the "Odyssey" as translated into verse by Bryant. This seems well adapted for use as a reading-book in fourth or fifth grade, and will be discussed more fully as such. (Houghton, Mifflin, & Co.)-"The Odyssey of Homer" by Palmer, is an excellent prose-poetic rendering of the whole poem, and is of great service to the teacher. (Houghton, Mifflin, & Co.)-Another excellent prose tr

ssons apart from the regular reading. Later, in fourth or fifth grade, the story is sometimes read in class from one of the simple prose narratives of Miss Cook, or Lamb, or Church. In the fifth or sixth grade, "Ulysses among the Ph?acians" forms an interesting reading-book, with which to acquaint the children more fully wit

erent ages and countries. The peculiar poetic charm and power of the original Greek are probably untranslatable, although seve

, himself, the great sufferer, is tossed about the world, or held captive on sea-girt, far-away islands. He passes through a series of wonderful adventures, keeping his alertness and balance of mind so completely that his name has become a synonym in all lands for shrewdness and far-seeing wisdom. And it is not only a wise perception, but a self-control in the midst of old and new temptations which is most remarkable. This over-mastering shrewdness or calculation even overdoes its

rs, and others, are plainly suggestive of the dangers which threaten the thoughtless minded, those who plunge headlong into danger w

other of the reference books. Some study of Greek architecture, sculpture, and modes of life will be instructive and helpful, as given in Smith's "History of Greece" and other histories. Pictures of Gree

e.g. in Palmer's "Odyssey," and fixes many of the most interesting events of the story. The teacher should not ove

supposed places and the route of the voyage can be traced on the map. Let the teacher sketch it on the board in assigning the lesson. Suggest that the children locate in the sky the stars and constellations by which Ulysses is to direct his course. The story of the construction of the raft on which Ulysses is to make

tune with the trident is in place. Explain the expression "while from above the night fell suddenly." Was Ulysses justified in saying, "Now must I die a miserable death"? In spite of the des

uffering and hopeless buffetings. In what way during this voyage and shipwreck did Ulysses d

questions are but a few of those raised in its reading and discussion. When Neptune, Ulysses, or Ino speak, let the speaker be impersonated so

of the beauty and power of this old story. By means of occasional readings of other selected parts of the "Odyssey," from Bryant or Palmer, some of the most striking pictures in the story of his wanderings can be presented. Even the children may find time for some of

GNIFICANT POI

interpretation of the author's thought and feeling,

ead the children to an absorbed and i

be firmly grasped by the teacher. By centring all discussio

rit of the selection, and enjoys it. To this end he needs not only to study the se

ility in the use of his materials. Warmth, an

n the assignment and in the way of handling the lesson they sh

g way, and such difficulties as children are not likely to grapple with and master for themselve

istakably clear and definite, s

be chiefly on parts alr

owledge, alertness, and skill are necessary to secure this. One must keep all the members of the class in the eye cons

ecitation better without looking at

oning is very usefu

e thought should appeal to

assages, or to expose errors or to develop thought,

sonable answers, and not insist on the pr

images and figures, and in impersonating characters. The picture-forming power is stimulated by apt q

tation is among the best means of awakening inter

pretation, subject to correction, and i

en should learn to help themselves in ov

to come prepared to ask definite que

encouraged by comparing similar ideas, figures of speech,

re oral reproduction. The paraphrase may be used at times

r giving to the class the content of the prin

e for the pupils, not for direct imitation, but to suggest the high

the passages they like. In the midst of the recita

ants, and pure vowel sounds. Cultivate also a quick ear for accurate enunciation in the p

asality, stuttering, nervously rapid reading, slove

thing, vigorous thought work, encourage to s

each lesson; avoid m

or by the previous bad habits and faults of the children in reading. It is impossible to give