Why? His mother's "things used to be" in it.

Why does he say "used to be"? That tells us that they are not there any longer.

Why? I think his mother is dead.

Who takes care of him now? His grandmother lives with him and looks after him.

Why does the boy say "It can't be the little cupboard"? They both think too much of it to want to use it in connection with their play.

How did the boy enjoy the game? Very much, because it says he laughed "with glee".

How did the Grandma enjoy it? She was glad to see the boy happy.

Do old ladies usually like to play games? No, they generally prefer to read or sew.

Why was she playing with the boy? She loved him and was sorry he was lame.

Could he do anything for his Grandma? He could talk to her, and keep her from being lonely. When he grows older, he can read to her.

Describe the picture you see in the ninth stanza. I see the old lady, with her hands covering her face, while she guesses where the boy is hidden.

In the last stanza, why does the author use so many "olds", in speaking of the Grandmother? He wants to make us feel she is quite old.

Why does he say "dear" so often? He wants to show how very kind she was to the lame boy.

Why does he say the boy was "half-past three", instead of three and a half years old? It sounds better the way he says it. It suggests the clock's time.

Give me some other titles for this poem. "The Chums", "A Queer Game", "The Two Playmates".

DANDELIONS

(Second Reader, page 30)

AIM

To lead the pupils to perceive and appreciate how the poet uses personification and comparison.

PRESENTATION

This poem should be studied in the spring, when the dandelions are in bloom. A nature study lesson should precede the literature lesson. The pupils should be required to observe when the dandelions begin to make their appearance; at what time of the day they are most conspicuous; after what kind of night they are to be found in greatest profusion; what change occurs in the structure of the flowers as they grow older; how long a time usually elapses between the first appearance of the flowers and this change; what the white, downy part of the flower constitutes; what eventually becomes of this part.

Introduce the lesson by a brief conversation about military operations. Describe how one army tries to seize a strategic position, sometimes a hill, where the men can fix their guns and command the surrounding country. If this lesson could be presented without the pupils knowing the title (by writing the poem on the black-board, for instance), there would be the added interest of solving a riddle, namely, what the poet is describing.

What is a real "trooper band"? A band of soldiers on horseback.

And what are real "veterans"? Old soldiers who have seen much service in war.

What is actually meant by the "trooper band"? The dandelions when they first come out.

What is the phrase that suggests that they are dandelions? "Yellow coats."

What does the author actually mean by the "veterans"? The dandelions, when they have gone to seed.

What phrase suggests this? "Their trembling heads and gray."

Where did the "trooper band" make their appearance? On the hillside.

When? On a "showery night and still".

Why is such a night selected? Because it makes the dandelions bloom in great numbers.

To what is the coming of the dandelions compared? To an army taking possession of a hill.

What words tell how they came? "Without a sound of warning", "surprised", "We were not waked by bugle notes", "No cheer our dreams invaded".

Explain "surprised the hill". Marched upon it when they were least expected, and seized it.

Give the meaning of "held it in the morning". Had undisputed possession of it.

Tell, in your own words, how the dandelions came. Suddenly and unexpectedly.

How did this attack differ from a real military attack? There were no notes of the bugle or shouts of the soldiers to announce the capture of the hill.

Change "No cheer our dreams invaded" into prose order, and explain the meaning. No cheer invaded our dreams. Our sleep was not disturbed by the victorious shouts of soldiers.

How did the coats of the soldiers you have seen differ in colour from those of the dandelions?

What is the meaning of "at dawn"? The first appearance of light in the morning.

"Green slopes"? Grassy hillsides.

"Paraded"? Marched up and down.

About what time has elapsed between the incident of the first stanza and that of the second? Probably a week or thereabouts.

What deed is referred to in the first stanza? The seizure of the hill.

What is meant by "idly walking"? Without any definite purpose in view.

"Marked"? Noticed.

About what were the veterans probably "talking"? About their military exploits in years gone by.

What words are suitably used in describing these veterans? "Trembling" and "gray" suggest old age.

Arrange "their trembling heads and gray" in ordinary prose order. Their gray and trembling heads.

Why should the veterans be filled with "pride"? Because of the brave deeds they had done.

Why did they laugh? Perhaps, because of some amusing occurrences they had seen.

What characteristics of the dandelions suggest these fancies regarding the veterans? The heads of the dandelions are white. As they sway in the breeze on their slender stalks, they incline their heads toward one another in much the same way as people do in conversation.

Why is the "laughter" said to be "noiseless"? Because human beings could not be expected to hear the laughter of the dandelions.

What expression would you be likely to use, instead of "welladay"? Alas!

What is meant by "they blew away"? The seeds of the flowers were scattered far and wide.

What do you like about this poem? (1) Its charming poetic fancies. (2) The fitness of the comparisons.

Point out clearly how the appearance of the dandelions resembled a military attack, and how, in the later stage of their life history, they resembled veteran soldiers.

THE BLIND MEN AND THE ELEPHANT

(Second Reader, page 56)

AIM

The aim of the lesson should be, not only to lead the pupils to enjoy the humour of the poem, but also to appreciate the lesson it teaches. It affords a fine opportunity for the development of conversational powers in the pupils.

The pupils should be encouraged to talk freely, and the questions should often call for quite lengthy answers.

PREPARATION

Who has seen an elephant? You have, Henry? Well, tell us something about him. He was very large. One of our barn doors is twelve feet high and six feet wide, and father said the elephant would just be able to go through that door. If he was in the school-room, his back would reach almost to the ceiling. His ears were bigger than the top of my desk. His trunk was twice as long as father's cane, and was nearly as big around at the upper end as a bag of wheat, and the lower end was as small as my leg is below the knee. His tusks were hard and white, one on each side of his trunk, and were longer than father's arm. His tail was small. It did not seem to be as long as one of his tusks. His legs were larger around than the trunk of the biggest apple tree in our orchard. His skin was something like a hog's skin, only thicker, and he had no hair. His whole body was a dirty, dark colour.

That is a fairly good description, Henry. You have helped us to picture a very large elephant.

PRESENTATION

As you have read this poem to yourselves, tell me what it is about. It is about six blind men "Who went to see the elephant".

As they were blind, how could they see him? They couldn't see him as we do, but they could feel him, and that was to them what seeing is to us.

In what way was feeling the same to them as seeing is to us? It was their way of knowing the animal, and that is just what seeing is to us.

Where did this happen? It happened in Indostan.

I told you to look for Indostan in Asia. Point it out on the map. (A pupil points to it.)

What are we told about these men? They gave much of their time to study.

What do you suppose was their favourite way of finding out things? This lesson makes me think that they liked to find out things by their own efforts.

Why do you think that? Because it says that they wanted to "satisfy" their minds by their own "observations".

In what other ways do boys and girls satisfy their minds about new things? By asking questions about them until the answers satisfy them.

What other way do you use sometimes? We read books to learn about many new things.

What did the first man learn? He thought he had learned that the elephant was "like a wall".

Why do you say thought? He hadn't really learned it. He stopped making observations just as soon as he had one idea.

Why do you think he did that? I think he was in a hurry to be the first to state what he knew.

What words in the poem suggest that idea to you? The words "At once began to bawl".

How did this man come to think the elephant was "like a wall"? He fell against the animal's huge side, and it made him think of a wall.

What was the second man's opinion about the elephant? He thought the animal was "like a spear".

Account for that idea. He felt one of the elephant's tusks, and formed his opinion without going any further.

And what about the third man? The third man put his hands on the elephant's trunk and felt it all over, but as he did not go any further, he declared that the elephant was "like a snake", because it was the only thing, as far as he knew, that squirmed about as the trunk did.

What did the fourth man do? The fourth man felt the big front legs and declared the elephant was "like a tree".

Tell us about the fifth man. The fifth man happened to touch the ear. He felt all over it but nowhere else, so he said the elephant was "like a fan".

And what had the sixth man to say? The sixth man had caught hold of the elephant's tail, and when he had felt all over it, he declared the elephant was "like a rope".

What conclusion did they come to in the end? They didn't come to any conclusion. They argued and argued for a long time, and each man was stubborn and stuck to "his own opinion".

GENERALIZATION

In what respects were they all alike?

1. Each one felt just one part of the animal and took the part for the whole.

2. Each was in a hurry to give his opinion and did not take time to form a good one.

3. Each man was stubborn and probably refused to feel where the others had felt.

If they could be in your place, how would they see themselves? They would see how foolish they had been, and each would see that the others were as nearly right as he himself was.

What lesson for ourselves can we learn from this? It teaches us not to be in a hurry in giving our opinions.

What do we learn from the dispute mentioned in the last verse? We learn from it that, when our own opinions about anything are firmly fixed, it does no good to argue about the matter.

In what way could they have arrived at the same conclusions? If each had done all that each of the others did, they would have agreed about the elephant.

In what way were these men really blind? They could not, or would not, see the viewpoint of others. There may be a mental blindness, as well as a physical blindness.

Here are two lines that you may memorize, as they fit the lesson very well:

Convince a man against his will, He's of the same opinion still.



THE LORD IS MY SHEPHERD

(Second Reader, page 203)

AIM

To lead the pupils to appreciate the beauty and power of the language of this Biblical lesson, and to feel a confidence in God's protection and support.

PRESENTATION

The teacher should talk with the pupils about the great flocks of sheep in Eastern lands. They require a shepherd to lead them to pastures where the grass is long and sweet, and to protect them from the wild animals.

This Psalm is called the "Shepherd Psalm" because it was written by David, after he became a king. He remembered the time when he was a shepherd boy and used to spend his days and nights in the fields with the sheep, and how he once killed a lion and a bear that came to attack his flock; and he thought to himself that God had cared for him all his life just as he himself used to care for his little lambs, so at last he put his thoughts into the words of this Twenty-third Psalm.

There are two metaphors in this Psalm. In the first is developed, through the figure of a shepherd and his flock, God's care of His people.

What are the feelings of the sheep toward the shepherd? They feel confident that he will supply them with food; he will lead them to the "green pastures" and to the "still waters" by the wells and fountains, where they will neither hunger nor thirst.

What does the expression "lie down" infer? A sense of rest and security. The sheep can lie down in the "green pastures" and feel confident that the shepherd is able and willing to protect them from danger.

In what way do we resemble the sheep? We are dependent upon the Lord for our supply of spiritual and material needs, and for guidance and protection along the path of everyday life.

What does the Psalmist mean when he says: "He restoreth my soul"? "Soul" means, in Hebrew, the "life," or "one's self". The Lord restores and brings back His people, when wandering into forbidden places.

Explain the next line. As the shepherd goes before and leads his sheep by the right paths, avoiding all dangers, so the Lord leads His people into "the paths of righteousness".

What does "for His name's sake" mean? He has undertaken to guide His people safely and will do it for the honour of His name.

In the next section, whom is the Psalmist addressing? He is speaking to the Lord.

What words show that he is still using the figure of the shepherd and the sheep? "Through the valley"; "Thy rod and thy staff".

What does the first line mean? Some paths that are right paths for us to walk in still lead through perilous places; and this is the way the Psalmist refers to this fact in shepherd life.

How should we feel? The Lord accompanies us, and we should "fear no evil". The sheep follow the shepherd with absolute confidence, and our attitude toward "the Good Shepherd" should be the same.

What words show that danger is sometimes close? Death sometimes comes so close that it almost seems to cast a shadow.

What does the "rod" represent? The rod is the sign of authority, and represents the defence and protection afforded by the shepherd to the sheep, when in danger from robbers or wild beasts.

What does the "staff" represent? The staff denotes support and guidance, and is used for aiding the sheep in places of need, even along peaceful ways. The expression "Thy rod and thy staff" covers the whole round of protecting care.

Here the figure is changed. In the second metaphor God is represented as a host with the Psalmist as a guest at a banquet.

"Thou preparest a table before me." The Lord makes provision for man's needs. He does so openly, publicly ("in the presence of mine enemies").

In what other way does the Lord show His care for His people? The Psalmist says: "Thou hast anointed my head with oil."

To what does this refer? In the East, it was the custom to pour an ointment of great fragrance on the heads of the guests of honour at a feast.

How does the Psalmist further picture the goodness of God? He fills our "cup" till it is overflowing.

What is the thought in the last two lines? The confidence of the Psalmist in the Lord, that as He has led and guided him in the past, so His "goodness and mercy" "shall follow" him "all the days of his life," and he will live forever in intimate communion with Him.

What do you like about the selection? The spirit of gratitude and confidence in those who enjoy God's benefits. The nature of some of these benefits is made plain to us by the pictures of the "green pastures", the "still waters", "the rod and staff", and the prepared "table".



CHAPTER VI

FORM III

HIDE AND SEEK

(Third Reader, page 50)

AIM

To lead the pupils to appreciate the exquisite music of the language and the pathos of the story.

PRESENTATION

What does the poem describe? It describes a father's love for his son.

There are two distinct parts. What does each part describe? The first two stanzas describe a game of "Hide and Seek" between the father and the boy, and the last two, the father's intense longing for the boy whom he has lost.

What kind of day is described in the first stanza? A bright and calm June day.

What things suggest this? Sleeping trees, still winds, wandering clouds, "noonday silence".

What does the writer represent the trees and the winds to be? Persons—the trees having the ability to sleep, and the winds to move or keep still. This is called personification.

What are "fleecy clouds"? Clouds that are white and downy.

The poet speaks of them as "flocks". What is the comparison intended? The comparison of the clouds to flocks of white sheep that, instead of wandering across a meadow, are wandering across the sky.

What does the word "wandered" suggest? That the clouds are moving along slowly and leisurely without any purpose in view. They are doing this because the "winds are still".

What is meant by saying that they "Have wandered past the hill"? They have gone below the horizon at the hilltop and cannot be seen. The sky is thus clear of clouds.

What causes "the noonday silence"? The heat of the mid-day has silenced even the songs of the birds. Compare Keats:

When all the birds are faint with the hot sun And hide in cooling trees.

How is the silence broken? By the voice of the little boy hunting for his father.

What do the words of the tune he is singing constitute? The rules of the game. The one hiding must respond "Coo-ee" each time the one searching calls.

Where is his father? In a "leafy nook" in the woods.

What does the question "Shall I let him pass?" seem to indicate? That his father hesitates for a moment to reveal himself.

What does he do, however? He gives the boy the signal—a "low, soft whistle". He cannot "let him pass".

What is shown in the last long line of the stanza? That the man enters into the spirit of the game with the same zest as the boy.

What feeling exists between the two? A feeling of perfect good-fellowship and affection.

Explain, "you're it". Your turn to hunt, mine to hide.

What further rules of the game are given here? (Every boy and girl will know these.)

What change in feeling is there between the first two stanzas and the last two? A sudden transition from gaiety and light-heartedness to sorrow.

What has happened? The boy is dead.

Why is "Long ago" repeated? It emphasizes the idea and adds to the pathos of the line. The time has seemed long because of the intensity of the father's grief. Happiness makes time pass quickly, not so grief.

How does the poet suggest the idea that the game is still being continued though it is now an inexpressibly sad one? He speaks of the boy as having left his father as if to hide, of his father as seeking him "high and low", of his being safely "hidden" "in some pleasant place", of the father as being unable to hear his "Coo-ee".

What is really meant by seeking him "high and low"? The thought of his boy is ever with him. He unconsciously looks for his face wherever he goes.

What is the "pleasant place"? Paradise.

How could you describe the short lines, "Far away", etc., down to the end of the stanza? As the call of a broken heart to the boy.

Where is the idea contained in "Far away" expressed before? In "Hidden safe and happy in some pleasant place".

And where is the thought, "Many a day", repeated? "Long ago he left me, long and long ago."

How is the father continually reminded of his boy? By the "Birds" and "Flowers"—everything that he loved is charged with memories of him.

What light is thrown upon the little fellow's interests? He loved the out-of-doors, the things of nature.

What ray of sunshine breaks through the clouds of the father's grief? The conviction that his boy "is waiting" for him till he comes.

What is the meaning of the line, "Love may hide itself", etc.? The little boy's love may for the moment be hidden, but it is everlasting. The father's love is likewise everlasting. This is sufficient ground for believing that they will some day be united.

The reading of this poem by the pupils will show whether they feel its joy, its sadness, and its hope.

AN APPLE ORCHARD IN THE SPRING

(Third Reader, page 60)

AIM

To lead the pupils to appreciate the beauty of an apple orchard in the spring and the music of the language used in describing it.

PREPARATION

This lesson should be taken when the apple orchards are in bloom. The teacher should prepare the pupils for it, by asking them to observe the blossoms, their colours and odours, the songs of the birds, and the sounds of the streams.

PRESENTATION

Read the poem describing these. What is the main theme of the lesson? The poet tells us how much we have missed if we have not "seen an apple orchard in the spring".

What is his theme in the first three stanzas? The beauty of an apple orchard.

What, in the last stanza? His memory of it.

In what order does he describe the blossoms? In the first stanza, the buds are turning white; in the second, they are unfolding; and in the third, the petals are dropping.

Where does the author suppose the reader to be standing, in the first stanza? Outside the orchard, where it is possible to see "the spreading trees" and all the orchard at once.

Where, in the next two stanzas, is he supposed to be? He is plucking the blossoms and walking under the trees.

What senses are appealed to in the first stanza? Sight—"seen an apple orchard". Hearing—"mavis sings its story".

What senses are appealed to in the second stanza? Touch—"plucked the apple blossoms", "touch them a delight". Smell—"caught their subtle odours". Sight—"Pink buds pouting at the light", "Crumpled petals baby white".

What senses are appealed to in the third? Sight—"pink cascades". Hearing—"silver brooklets brawling", "cuckoo bird soft calling".

Show the appropriateness of "hoary", "wealth of promised glory", "pouting", "pink cascades", "silver brooklets brawling", "wonder of the spring", "precious", "tender".

What Canadian birds could be substituted for the mavis and the cuckoo? The robins, warblers, and goldfinches.

Lead the pupils to examine the arrangement of the rhythm and the refrain, so that they will appreciate the music of the verse. Let each pupil show his appreciation by reading the stanza he likes best.

LITTLE DAFFYDOWNDILLY

(Third Reader, page 223)

The teacher should require the pupils to read the lesson through and then to reproduce its main incidents without any regard to their allegorical significance. Such headings as the following might be suggested by the pupils, and these would serve to guide in this reproduction:

1. Daffydowndilly's dislike of the schoolmaster

2. His decision to run away from school

3. His meeting with the stranger who accompanies him on his journey

4. The haymakers

5. The carpenters

6. The soldiers

7. The merry-makers

8. His discovery of his companion's identity

9. The lesson that he learned.

Having thus obtained the literal meaning of the story—a matter of little difficulty—it remains to get its deeper significance. It is hardly probable that many pupils will be disposed to regard the story as literally true, yet few will be likely, upon a first reading, to see the principle that underlies it. In order to arrive at this, the teacher may proceed as follows:

Are there any parts of the story that strike you as improbable? (1) The reference to Mr. Toil's long residence upon the earth. (2) The frequent meetings with Mr. Toil's brothers. (3) Daffydowndilly's slowness in discovering another brother in the person of his companion. (4) Their travelling all day in a circle.

If the story is literally untrue or improbable, what object might Hawthorne have had in view in writing it? Perhaps he wished to teach some lesson; perhaps there is a meaning hidden beneath the story.

Let us discover what that hidden meaning is? What does the name "Toil" suggest to you? Work.

What, then, may Mr. Toil represent? Work.

And what may his brothers represent? Different kinds of work.

With this idea in mind, we shall now try to understand what each adventure really means. How are we prepared for Daffydowndilly's troubles with the schoolmaster and for his later unpleasant experience? The author tells us that he "took no delight in labour of any kind".

What flower did he resemble? The daffodil. The boy's name is another form of the name of the flower.

In what respect is he said to resemble a flower? He "loved to do only what was beautiful and agreeable, and took no delight in labour of any kind".

Why is Mr. Toil first represented as a schoolmaster? Because it is at school that a boy is first introduced to real work. (This might be given a still more extended meaning. The school represents the preparation for our future vocation, whether it be in the school-room, or in an apprenticeship, or elsewhere. This involves hard work, and hence is, to some extent, at least, unpleasant.)

What is meant by saying that Mr. Toil "had done more good ... than anybody else in the world"? Work does everybody good: (1) It keeps us out of mischief. Criminals often become so because of the lack of profitable employment. (2) It improves character. The people of the best and strongest character are those who have had to work hard. (3) It makes the world happier. The most miserable people are those who have nothing to do.

"A very worthy character." Is "character" used in its usual sense here? It usually means what a person really is.

(Distinguish "character" and "reputation".)

Explain what is meant by saying that "he had dwelt upon earth ever since Adam was driven from the garden of Eden". Ever since that time man has had to work. God said to Adam (Genesis iii, 19), "In the sweat of thy face shalt thou eat bread".

Why is Mr. Toil represented as being such a disagreeable person? Because, to some people, work has many unpleasant features.

Any activity that has no compulsory elements in it is no longer work, but play. What is the real meaning of the paragraph describing the schoolmaster's method of discipline? The work of the school-room, being compulsory, and therefore disagreeable to idle boys, becomes exceedingly painful when long continued.

Contrast Daffydowndilly's previous life with his experience at school. Brought up under the indulgence of his mother, his life had been very pleasant. Now, introduced to real work, he finds life very unpleasant.

What gives us a suggestion as to the identity of the stranger whom Daffydowndilly met on the road? We are told that he was "trudging" "along the road", and that his voice "seemed hard and severe".

Why is "trudging" a better word than "walking"? It suggests effort, and hence work.

How does the form of the question, "Whence do you come so early, and whither are you going?" harmonize with the description of the stranger?

We are told that he had a "grave and sedate appearance", and the somewhat stilted form of the question is quite in harmony with this description.

Why had his voice "a sort of kindness in it"? Because moderate work, such as this walking early in the day, is not altogether unpleasant.

Explain "ingenuous disposition". How does Daffydowndilly show this?

What made his discovery of Mr. Toil among the labourers in the hayfield so unexpected? The circumstances and surroundings—"the sunshine", "the blue sky", the singing birds, the fragrant hay—were so pleasant that it was hard to see how anything so unpleasant as work could intrude there.

Why is Mr. Toil recognized in the owner of the field rather than among the labourers? In directing the activities of the men, as well as working himself, he is performing the most arduous labour of all.

Why does the stranger say the farmer is a "more disagreeable man" than his brother, the schoolmaster? Because the activities of farm life are more laborious than those of the school-room.

What expression that takes the form of a proverb is used in describing this incident? "To make hay while the sun shone."

Distinguish its meaning, as the author uses it, from its meaning as a proverb. The author uses it in its literal meaning. The farmer must make the most of fine weather and sunshine in curing ("making") his hay, for, if rain comes after it is cut, it will be more or less injured. Used as a proverb, the expression means that one should seize the opportunities presented and make the most of them.

What does Hawthorne mean by placing a Mr. Toil at the head of the company of soldiers? Military movements, though very attractive to the eye, really involve work. Soldiers find their activities very toilsome, especially after the novelty has worn off.

Why is Mr. Toil placed even among the dancers? The pursuit of pleasure soon becomes wearisome, and hence toilsome.

Why is the fiddler represented as a Frenchman? France, as a whole, is reputed to be the gayest and sprightliest of nations.

What is meant by saying that "those who have known him best think him still more disagreeable than his brothers"? Those who devote themselves entirely to the pursuit of pleasure find it more toilsome and disagreeable than ordinary work. People frequently say, after a day given up to pleasure, that they are more tired than if they had worked hard all day.

In which of the incidents of the story does it seem least likely that Mr. Toil would be met with? In the incident of the merry-makers.

In which, most likely? The incident of the haymakers.

How has Hawthorne apparently arranged Daffydowndilly's experiences? He has so arranged them that in each successive incident we are more surprised at meeting with Mr. Toil. Each one seems to promise less probability of his presence than the preceding.

Why had Daffydowndilly not recognized his companion before? His voice had been kind and his manner agreeable in the early stages of the journey.

Interpret this as has been done in the case of the other incidents. The early part of Daffydowndilly's journey had been pleasant, owing to the freedom from school and the interesting experiences by the way. But, as the day drew on, he gradually grew tired, and then it was that he recognized that walking is work.

What lesson did he learn? That he could not get away from work. It is to be found everywhere, in the most unexpected places, and one cannot escape from it by changing his occupation.

What is meant by Daffydowndilly's finding Mr. Toil's ways more agreeable upon better acquaintance? When he grew accustomed to his work, he found that it was not so very unpleasant after all; "that diligence is not a whit more toilsome than sport or idleness".

What is Mr. Toil's "smile of approbation"? The consciousness of work well done.

Tell the pupils that this story is an Allegory. They have probably read other stories of a similar nature, and may be asked to frame a simple definition. An Allegory is a story, not literally true, containing incidents that have a deeper meaning than is apparent on the surface. Its purpose is to teach some moral truth or universal principle. It differs from the Parable in being longer and more complex.

When the pupils reproduce the story, it will be well to adhere to the allegorical form, and not attempt to give its significance.

MOONLIGHT SONATA

(Third Reader, page 285)

AIM

To lead the pupils to appreciate the importance of details in the construction of a story.

PREPARATION

The teacher will have told the pupils a few facts about Beethoven and, if possible, will have shown them his picture. He will also have asked them to read the lesson at home and become familiar with the story.

PRESENTATION

What is the main point in the story? The circumstances under which the musician wrote the "Moonlight Sonata".

What is a sonata? It is a musical composition which consists of movements fast or slow, sad or playful, according to the varying mood of the composer.

Where was the scene? In Bonn in Prussia.

When? On a moonlight winter's evening.

Who were the two persons? Beethoven and the writer.

Notice that these three important facts are all told briefly at the beginning.

Why had the writer called on the musician? He wished to take him for a walk and afterwards take him home with him to supper.

Had he any reason except the desire for Beethoven's company? Yes, Beethoven's health was not good, his hearing was becoming impaired, and the writer evidently thought he needed rest and recreation. These circumstances led to an important result.

What happened next? In passing through a narrow street, Beethoven heard some one playing his "Sonata in F".

What were his feelings? Surprise to hear it in such a place and delight at the excellence of the playing.

How did he show his feelings? By exclamations, questions, and short sentences.

What is told in the next three paragraphs? They describe a conversation.

Who are speaking? A brother and sister.

What are they saying? The sister is lamenting that she cannot "go to the concert at Cologne" and her brother reminds her of their poverty. Then she wishes that "for once in her life" she "could hear some really good music".

What happens next? Beethoven decides to enter the house.

How does the writer impress this fact on the reader? By giving the argument between himself and Beethoven.

What were the latter's reasons? The player had "feeling, genius, understanding", and these qualities are so rarely found that Beethoven could not neglect them.

Explain these terms. The player showed refined feeling in her interpretation of the music, genius in her skill on the piano, and thorough understanding of the composer's purposes in the composition.

Was it only for his own pleasure that the composer entered? No, he wished to give pleasure to one who could so well appreciate his work.

Describe the scene. A young shoemaker is seated at his work. He is pale from the effects of confinement and toil. A young girl with an abundance of light hair is leaning on an "old-fashioned piano".

What does this piano show? That their parents had very probably been lovers of music, and the piano may have been an heirloom.

What comes next? The musician explains the reasons for his intrusion.

How did the brother look upon it? The young man seemed annoyed at first.

How was this annoyance overcome? The manner of Beethoven was so comical and pleasant that the young man's annoyance passed away.

How had Beethoven addressed the brother and sister? His manner was very confused. He wished to conceal his name, and yet wished to give pleasure to the young girl.

How does he show his confusion? The sentences "I, I also ... play for you", are such halting ones. He does not make his sentences complete.

What was the next part of the conversation? The young man tells Beethoven that the "piano is so wretched" and they "have no music".

What is the purpose of this statement in the story? It shows Beethoven that the young girl is blind and plays these difficult compositions by ear.

How had she learned to play this Sonata? She had heard a lady "practising" it, and "walked to and fro" in front of the house in order "to listen to it".

What does this show? What a love of music and wonderful natural ability the young girl possessed.

What is the next action in the story? Beethoven plays.

Why did he play better than he had often done before large audiences? He realized how greatly his work was appreciated; and he was deeply touched by the thought of the young girl's blindness, her poverty, her skill, and her passion for good music.

What trifling occurrence now affects the story? The last candle in the house burned out, so the writer opened the shutters and admitted "a flood of brilliant moonlight".

What effect had this upon the composer? It changed the current of his thoughts and feelings.

How did he appear? "His head dropped upon his breast", and "his hands rested upon his knees".

What is the next action? The young shoemaker asks Beethoven who he is.

What did the composer answer? "He played the opening bars of the Sonata in F." This revealed his name. The writer says that the young people "covered his hands with tears and kisses".

What were their feelings? Their actions were expressions of their affection and admiration.

What takes place next? The brother and sister beseech him to play "once more".

What description is given here? Beethoven's appearance in the moonlight.

Describe him. He was very "massive" in size, his head was large and his features strong, and the light from the moon encircled his head. (Produce a picture, if possible, of Beethoven.)

Did he agree to play again? Yes, he said he would "improvise a Sonata to the Moonlight".

What does "improvise" mean? He would compose the music as he played.

Had this any relation to what goes before? Yes, the writer has told us how thoughtful he had been when the moonlight first streamed into the room. Now he is going to express his thoughts and feelings through the tones of the piano.

We said at the beginning that a Sonata was a musical composition consisting of various movements. What are the movements? In this case there is first, "a sad and infinitely lovely movement", then, "a wild, elfin passage in triple time", and lastly, "a breathless, hurrying, trembling" close.

Let us examine this description of the "Moonlight Sonata" more closely. What did the moonlight suggest to Beethoven? "Spirits" dancing in the moonlight.

What does the first movement suggest? The "moonlight" flowing "over the dark earth".

What does the second movement suggest? The wild dance of the "spirits on the lawn".

What does the last suggest? "Flight", "uncertainty", "impulsive terror".

What was the effect upon the listeners? They were left in a state of "wonder" and "emotion".

What musical terms are used to describe this music? Interlude, triple time, agitato finale.

Explain them. Interlude is a piece of music played between the main parts. Triple time is time, or rhythm, of three beats, or of three times three beats in a bar.

Give an example of triple time. It denotes sprightliness, as in the waltz. The agitato finale means the close of the passage with a hurrying movement.

What takes place next? Beethoven rose quickly, promised to come again, and hurried away.

Why did he hurry? He wished to write out the "Sonata" while it was still fresh in his mind.

What does the last short paragraph state? It tells that this was the origin of the "Moonlight Sonata".

Where is the theme of the whole lesson found? In the last sentence.

What has the writer told us? He has given us all the circumstances which combined to inspire Beethoven to compose this great work.

RECAPITULATION

Now let us review the story and collect these details. What are they? The time, place, the persons going for a walk, the narrow street, the wonderful playing, the conversation, the appearance of the young people, the blindness of the girl, her eagerness to hear "good music", the moonlight admitted, the recognition of Beethoven.

Yes, all these things had a combined effect upon the musician. If he had gone straight to supper, there would probably not have been a "Moonlight Sonata". This lesson illustrates how time, place, persons, and action are arranged to produce a well-told story.

LEAD, KINDLY LIGHT

(Third Reader, page 315)

AIM

To aid in the culture of a sensitive response to the spirit and language of the prayer.

PREPARATION

The teacher should talk with the pupils about a journey through the darkness, over dangerous bogs, swollen streams, and beside precipices.

PRESENTATION

Read the poem. In what form is this lesson? A prayer.

What is the prayer? The traveller asks for the guidance of the Holy Spirit. See notes on this lesson in the Manual on The Ontario Readers, pp. 166-7.

Describe his journey. "The night is dark", he is "far from home", he trusts to the light shining through the darkness to keep his feet from stumbling; he does not trouble himself about what lies far before him, he attends only to his footsteps one by one. He feels he can pass safely over the "moor", the "fen", the "crag", and the "torrent", by trusting to the guidance of the light. With the dawning of the day will come the reunion with his loved ones from whom he has been separated.

Explain the symbolism employed here. The poet speaks of himself as going through life like a traveller on a long journey, wherein he is constantly met by trials and temptations and cannot always know what is the right course to take. He acknowledges that he needs some stronger power than his own to direct his life and asks for the guidance of the Holy Spirit, content to trust himself to His leading in any dangers and difficulties that may arise in this life, and secure in the knowledge that "with the morn" he shall see once more those whom he has "loved" and "lost awhile".

What is the main thought of the first stanza? The traveller prays for guidance.

Of the second stanza? He states that he has not always been willing to ask for guidance, but had relied on his own reason.

Of the third stanza? He expresses his belief in the power and willingness of God to guide him aright.

What is the relation of the second stanza to the first one? It contrasts the poet's earlier attitude of mind toward God with that of later years, thus emphasizing the change that has taken place in his life.

Is the poet stronger in the second case than in the first? No; in the first, his ideal is higher and his humility greater, as he relies absolutely on the guidance of the Holy Spirit. In the second, relying only on his own reasoning powers to guide him, he made many humiliating failures.

Image the "moor", the "fen", the "crag", the "torrent", and "with the morn".

RECAPITULATION

Summarize the main thoughts and lead the pupils to bring out clearly the comparison between the traveller and the poet.

Give a brief account of the author's life.



LEAD, KINDLY LIGHT

(Third Reader, page 315)

AIM

To aid in the culture of a sensitive response to the spirit and language of the prayer.

TREATMENT

The teacher should read the poem aloud, to awaken respect for the deep humility, complete open-mindedness, and growing faith of the poet.

What may this poem be called? A prayer for guidance.

Stanza I

What are the poet's feelings? He feels very much depressed in spirit, as a traveller would who was far from home and alone in the gathering darkness.

Whom does he address as "Kindly Light"? Why does he use the term "Light"? He may remember that our Saviour called Himself "the Light of the world", and it is as his "Light" or Guide that the traveller feels his need of Him. He may be thinking of the Pillar of Fire and the Pillar of Cloud.

What image is suggested by the words "Lead, kindly Light"? It suggests something that has life (moves on before), and sheds a beneficent light on the travellers' path.

What is meant by the "gloom"? It means the condition of his mind. He is seeking Truth and feels that he cannot rely on reason alone to guide him.

What do the last two lines show about him? They show that he is humble and is content to be guided through the darkness "one step" at a time.

Stanza II

What more do we learn about his life in the second stanza? In what language is his former "pride" contrasted with his present humility? What is the meaning of "garish"? What part of his life is called "the garish day"? Why is it so called?

NOTE.—"Garish" means dazzling, and by "garish day" is meant the earlier care-free years when life seemed all brightness and the author felt perfectly certain of his ability to take care of himself.

What at times disturbed his life, even in those "past years"? What made him hide these fears? What is meant by saying "Pride ruled my will"? What now is his prayer concerning these years? Why does he want them put out of remembrance?

What is the relation of the second stanza to the first one? It contrasts the author's earlier attitude of mind toward God with what it is in later years, thus emphasizing the great change that has taken place in his life.

Compare the dependence depicted in the first stanza with the strength described in the second. In which case is the man really the stronger? Account for the fact that when he was strong, but not in his own strength, he really felt his weakness more than when he was weak.

NOTE.—The higher his ideal, the smaller he sees himself; and the lower his ideal, the larger he sees himself. Observe also how the prayer to be led "on" reveals the man's progressive spirit. The unprogressive man would pray simply for safety and protection.

Stanza III

What lesson does the poet learn from the "past years"? What confidence does this lesson give him for the future? What phases of experiences of life are suggested by "moor", "fen", "crag", and "torrent"?

NOTE.—To answer this, there should be an effort to image a moor, a fen, a crag, or a torrent clearly. Then when the pupil sees the desolate, lonesome moor; the miry, almost impassable fen; the sharp, out-jutting crag which makes the ascent more forbidding and difficult; and the rushing, unbridged torrent which must be forded or breasted, even though it threatens destruction; it should be easy to relate these to the experiences in life which they typify, or represent.

How long does the poet believe this guidance will last? In what words does he say that it will last as long as it will be needed? What does he mean by "the night"? Beyond "the night", what vision does he see? Whose are "those angel faces"?

What is the relation of the third stanza to the second? It shows how the author's confidence in the Divine guidance to be granted him during future years is strengthened by the lessons learned in former years.

The teacher should again read the poem aloud. This will impress upon the pupils, not only the truth and beauty of the poem, but also furnish an ideal to stimulate them in their preparation for the reading lesson which is to follow.



CHAPTER VII

FORM IV

JUDAH'S SUPPLICATION TO JOSEPH

(Fourth Reader, page 51)

INTRODUCTION

Review briefly the Scriptural account of Joseph's life, and particularly the story of the visits of his brethren to Egypt to buy corn. Note especially the following points:

1. The famine in the land of Canaan; the first visit of Joseph's brothers to Egypt; their interview with Joseph; the detention of Simeon; Joseph's demand that Benjamin be brought down.

2. The return to Canaan; Jacob's refusal to let Benjamin go down into Egypt; Judah's becoming surety for his safe return.

3. The second visit of Joseph's brethren to Egypt, this time with Benjamin; their entertainment by Joseph; their homeward journey; the discovery of the silver cup in Benjamin's sack; their return to Joseph.

GENERAL ANALYSIS

After the selection has been read, the teacher should proceed by some such method as the following:

With what does the passage deal? Judah's entreaty to Joseph for Benjamin's safe return to his father, and the effect it produced.

Into how many parts is the selection naturally divided? Into three parts, corresponding to the paragraphs as given in the Reader.

What is the principal idea in each part?

1. Joseph's decision to keep the offender as a bondman. (Paragraph I)

2. Judah's supplication to Joseph that Benjamin be permitted to return for his father's sake. (Paragraph II)

3. Joseph's revelation of his identity, and the provision he makes for the maintenance of his kindred. (Paragraph III)

DETAILED ANALYSIS

Paragraph I

Why did Joseph's brethren fall "before him on the ground"? Prostration is the Eastern mode of signifying profound respect, complete submission.

What is the meaning of "divine"? In this sense, to look into the future; to see what is hidden from ordinary people.

Does Joseph claim explicitly to have this ability? No, he merely suggests it, probably to impress them with the idea of his power.

What does Judah mean by "the iniquity of thy servants"? Doubtless he has in mind the wrong that they committed years before, in selling Joseph to the Ishmaelites and deceiving their father. Verses 21 and 22 of the 42nd chapter of Genesis go to show that the consciousness of this sin was ever before them.

What was Judah's attitude toward the accusation brought against them? He frankly confesses the guilt of all—not of Benjamin only.

Why do you think he adopts this attitude, when he must have been sure that all were guiltless? He perhaps believes that they are victims of a conspiracy, the object of which is to place them in the power of this Egyptian governor, and he thinks that this submissive attitude is best calculated to secure mercy at his hands.

How do you account for Joseph's apparent desire to keep Benjamin in Egypt, with himself? Probably he thinks this the best means of inducing his father, Jacob, to come to Egypt. However, he may not really intend to keep Benjamin at all. He may be making the threat only to test Judah. It may be remembered that it was Judah who had counselled the selling of Joseph years before. Joseph may now be trying to see if Judah is the same kind of man he was when the selling into Egypt took place—whether he will sacrifice Benjamin in this extremity as he sacrificed Joseph himself.

If the latter is Joseph's object, how does the experiment succeed? It proves that Judah is a different man, that the years that have elapsed have produced a remarkable change in his character.

Paragraph II

Of what does Judah's entreaty largely consist? Of a recital of the governor's orders and of Jacob's attachment to Benjamin, the son in whom all the thoughts, hopes, and desires of his old age are centred.

Upon what does Judah lay the greatest emphasis? Upon the effect that Benjamin's detention will have upon his father. Evidently the brothers are very anxious to spare their father any unnecessary grief and pain.

For what purpose is the whole speech specially adapted? To stir the emotions. It is suited to appeal to the feelings of anybody, but, particularly, to the feelings of Egypt's governor, though his identity is still unknown.

Which are the most pathetic sentences? The two beginning with, "And we said unto my lord, We have a father, an old man", and "Now, therefore, when I come to thy servant, my father, and the lad be not with us".

What features of the speech would make the strongest appeal to Joseph? The reference to his father's old age and his attachment to Benjamin; his belief in Joseph's untimely end; the blow that separation from Benjamin would involve; Judah's willingness to sacrifice himself.

What light does the speech throw upon Judah's character? It shows a capacity for intense feeling, a deep devotion to his father, and a spirit of self-sacrifice. It might indicate also a shrewd knowledge of human nature, for he apparently knows how to present the case in the most effective manner.

What is the meaning of "thou art even as Pharaoh"? Thou art as mighty as the king of Egypt.

Explain "thy servant became surety for the lad unto my father". Judah had given Jacob a guarantee that Benjamin should return safely.

Select any figurative expression and give its meaning. "Thy servants shall bring down the gray hairs of thy servant our father with sorrow to the grave." The blow which separation from Benjamin would involve will cause the aged father to die of a broken heart.

What are the main characteristics of the supplication? The language is simple and direct, the feeling is of the loftiest character, and the whole speech is highly eloquent. If the test of true eloquence is the intensity of the appeal it makes to worthy emotions, this passage may well be regarded as one of the most eloquent in all literature.

Paragraph III

Did Joseph purposely select this as the most fitting moment to reveal himself? No. He revealed himself because he could not help it and because Judah's appeal had so worked upon his feelings. The first sentence of the paragraph indicates this.

Why did he send every man away except his brothers? He did not wish others to see his own lack of self-control or his brothers' shame and embarrassment. Moreover, it was a solemn situation, too sacred for vulgar eyes to gaze upon.

We are told that he "wept aloud", that "he fell upon his brother Benjamin's neck, and wept", that "he kissed all his brethren", etc. Is he unduly demonstrative? Eastern people are much more emotional and demonstrative than Western people.

Why did he have to repeat his assurance that he was Joseph? The first announcement was so amazing that it seemed incredible to them. Moreover, all his previous communications had been through an interpreter and, no doubt, their amazement was increased by hearing him address them in their own tongue.

Upon what ground did Joseph tell his brothers that they should not blame themselves for selling him into Egypt? Upon the ground that God had brought good out of the evil they had done.

Is he quite right in telling them that they should not be grieved for the wrong they did him? They were free agents; God did not will that they should sin, though He brought good out of it. From this point of view Joseph is wrong. But he doubtless sees that his brothers have long ago repented their action and does not wish them to continue to blame themselves. His assurance is no doubt prompted by a noble generosity induced, to some extent, by Judah's appeal.

What seems to be Joseph's dominating motive? His love for his father. His repeated references to him show this.

We can understand his desire to provide for his father and Benjamin, but why for his brothers who had wronged him? Partly for his father's sake, perhaps. It was natural, in those patriarchal days, that Jacob, if he migrated to Egypt, should wish his family to do the same. Besides, Joseph sees that his brothers are changed men.

What inducements does he hold out to them? He shows them that his own power in Egypt is sufficient to protect them; he promises them the fertile land of Goshen, with sufficient food for themselves and their flocks and herds; and he points out that five years of famine are yet to be in the land, and that they must inevitably suffer if the invitation is rejected.

Joseph frequently draws attention to his power in Egypt. Is he at all vain-glorious? No, he does this to assure his brothers that the wrong done him years before has had, through the goodness of God, a beneficent result; to show them that it has not been all suffering in his long exile; and to induce his father to come down to Egypt.

"After that his brethren talked with him." About what would they probably talk? No doubt Joseph would ask many things about what had occurred in Canaan since he left, and would give his brothers an account of his own experiences in Egypt.

Does it not seem strange that Joseph, during all these years, should never have taken measures to find out how his kindred fared, or to assure them that he was still alive? He was probably ever looking forward to such a situation as this, confident that the dreams of his boyhood would still be realized. It was, perhaps, this belief in the ultimate fulfilment of his dreams that had kept him silent during these years.

What qualities of character does Joseph show in his speech? A spirit of noble generosity and forgiveness, filial devotion, and a desire to find good in the midst of seeming evil.

Point out passages that indicate these qualities. What admirable characteristics does the whole selection exhibit? Simplicity, directness, and eloquence of language, noble emotion, loftiness of character, and high ideals.

As a final synthesis of the lesson, let the pupils tell the story in their own words, preserving, as far as possible, the same order of ideas as is followed in the extract. This will reveal to the teacher whether they have grasped the ideas in their proper relationship.

MERCY

(Fourth Reader, page 89)

THE SETTING OF THE SELECTION

This selection is taken from Shakespeare's play The Merchant of Venice, iv. i. In this play, Shylock, a Jew of Venice, had loaned Antonio three thousand ducats, repayable on a certain date without interest, but if not so paid, Antonio was to forfeit a pound of flesh from such part of his body as pleased the Jew. Antonio, not being able to pay the money as agreed, Shylock sued for the fulfilment of the bond, and in court refused to accept even three times the amount borrowed, insisting on a pound of the merchant's flesh. According to the law, there appeared to be no help for Antonio, but the judge, Portia, asked Shylock to show mercy. To this he answered, "On what compulsion must I? Tell me that." This selection is part of Portia's reply to Shylock's question. The teacher should relate to the pupils the outline given above.

ANALYSIS OF THE THOUGHT

1. The qualities of mercy:

(1) It is not forced. (2) It is gentle. (3) It carries a twofold blessing. (4) It is the most powerful attribute in men of might. (5) It is divine in its nature.

2. Where mercy is found:

(1) It is found "enthroned in the hearts of kings". (2) It is found as a Divine attribute.

3. The results of showing mercy:

(1) It adds strength to strength. (2) It makes man God-like.

Question, in order to develop the analysis of the thought, and write on the board the topics, as given by the pupils.

THE DIFFICULTIES

Quality of mercy. The nature of mercy is not strained, is not forced. When the Jew asks "Upon what compulsion must I?", Portia answers that compulsion has nothing to do with mercy. It is not in the nature of mercy to be a result of compulsion.

Mightiest in the mightiest. This is capable of a double interpretation—(1) the quality of mercy in a man of great power must be strong in proportion as his power is great. (2) Mercy is at its greatest when exhibited by the greatest. Portia would wish to convey the first meaning, as that would have the more weight with Shylock.

Becomes the throned monarch. The possession of this quality makes a man more truly kingly than the mere wearing of a crown.

Sceptre. The symbol of the monarch's authority.

Temporal power. Power which belongs to this world only.

Mercy—is enthroned in the hearts of kings. The "hearts of kings" are for mercy what the throne itself is for a king—the most exalted position he can occupy.

Mercy seasons justice. Mercy tempers justice, rendering it less severe and making it more acceptable and pleasing.

Develop the meaning through Illustration, when possible. For example, to teach the meaning of "seasons" in "mercy seasons justice", lead the pupils to use the word seasons in such sentences as: We season our food with spices. Lead, from the meaning in common or familiar use, to its use in the lesson. Avoid mere dictionary meanings of words. Teach the use of the word where it is found, never one of its meanings apart from its use.

THE ARGUMENT

There is no compulsion in mercy. Its course is always from the higher to the lower. It is a blessing to both giver and receiver. The greater the mercy shown, the greater will be the giver. To show mercy does more to make a monarch kingly than does his crown. The one stands for the exercise of authority and power commanding obedience and awe; the other comes from the heart and reveals the character. It is more than kingly, it is God-like; for in exercising it, man's power becomes more like God's than in any other way.

Develop the above argument by questioning. Sum up the result by requiring the whole argument to be given by a pupil orally in his own language. Finally, require the pupils to write, as forcibly as they can, the whole of Portia's argument.

The remainder of Portia's speech as given in the play may also be given to the pupils. In that case, the remainder of the argument should be given as follows:

You demand justice, Jew. Even so, require it as you hope Heaven may require it of you. Consider that mercy is necessary to salvation, and remember that, as we all pray for mercy, that fact itself requires us all to show the deeds of mercy.

The speech containing this part of the argument is as follows:

Therefore, Jew, Though justice be thy plea, consider this, That, in the course of justice, none of us Should see salvation: We do pray for mercy; And that same prayer doth teach us all to render The deeds of mercy.

"We do pray for mercy", refers to the general prayer of humanity for mercy. To have limited its reference to the petition for mercy in the Lord's Prayer would have weakened its force to the Jew.

MORNING ON THE LIEVRE

(Fourth Reader, page 228)

ASSIGNMENT

1. The teacher should explain to the pupils that the Lievre River (pronounced Lee-eh-vr) runs through a deep gorge in the height of land on the Quebec side of the Ottawa River, into which it flows not far from the Capital. In some places, the banks of the Lievre rise abruptly to a great height; at others more gradually, the slope being covered with a thick forest growth. As the river nears the Ottawa, the banks become much lower. The scenery, whether viewed from the height above or from the river below, is very beautiful.

2. The teacher should ask a few questions which can be answered easily from the pupil's own reading of the poem, for example:

From what position does the author first view the scene? What things in the scene appeal to each of the pupils as the most beautiful? Describe the incident mentioned in the last stanza. State in a single sentence the subject-matter of the whole poem.

TREATMENT

The pupils' answers to the questions given when the lesson was assigned should be dealt with first.

Stanza I

What first attracts the author's attention as he looks upward? What makes us feel how high up the banks the mist extends? What part of the mist appears most beautiful? Why? To what is it compared? How does this comparison affect our impression of (1) the colour of the mist; (2) the height of the mist? Does the comparison make the meaning clearer? Is the comparison apt? Is it beautiful?

NOTE.—When a blacksmith cools the red-hot iron in a tub of water, vapour rises to the roof of his shop. The blaze from his forge shining on this mist produces the colours mentioned. The amethyst is a precious stone, clear and translucent, with a colour inclining to purple. The presence of coal dust or smoke in the vapour would help to produce the colour of amethyst. The same effect would result, if some smoke or dust were mingled with the mist where the sun's rays reach it at the top of the gorge.

"Screams his matins to the day." What is meant? What idea does the author wish to convey by this mention of the bird? Out of hearing "of the clang of his hammer" gives a strong impression of the great height of the gorge. Of what "giant" are we made to think? What is meant by "skirts of mist"?

The teacher's reading of this stanza, a part at a time, if it is taken up in that way, or all at once, should aid much in impressing upon the minds of the pupils the wonderful beauty of the scene described, and this is the main purpose of the lesson.

Stanza II

The author is paddling down the river. Describe the movement. What shows that the mist has risen from the surface of the water? What indicates the calmness of the river? What things connected with himself does the author show to be in harmony with the scene? How does he indicate the harmony in each of the following: The motion of his canoe, the surface of the water, his own activity, the force of gravity, the character of the morning, and the forest life? We should expect him to dip his paddle very quietly, if he felt the calmness of the morning, but to show that the "silence" pervades all nature, the very drops of water from the paddle blades seem to fall gently, in sympathy with the spirit of silence reigning all around. What are the "river reaches"? The reach is the stretch of the river between two bends. How are they "borne in a mirror"? The high cliff-like banks are mirrored in the surface of the water. Explain the colour "purple gray". It is the colour of the image of the banks in the water. What is meant by "sheer away"? It means that the "river reaches" curve away like a winding road. Try to see the picture of the winding river, apparently growing smaller as it passes curve after curve. As it seems to recede into the distance, the surface of the river forms a "misty line of light", just before it melts into the shadows of the forest. Where do the forest and the stream seem to meet? What does the word "plight" suggest about their meeting? What suggests a meeting-place out of sight? Why is the meeting represented as taking place in the shadow? Now what is described in the second stanza?

"As a cloud", "like a dream". Do these make the meaning clearer? Explain. Are these comparisons apt? Show the fitness of "silvery", "crystal deep", "asleep".

Stanza III

As the author goes farther and farther down the stream, the river runs more slowly. How is this shown? What shows that the little creek runs very slowly into the river? How does the author say the creek is winding? Why would not the same word "curling" do to show that the river was winding through the gorge? What are we told about the mouth of the creek? See those sunken wrecks down in the water. What are they like? What shows you that they are very large tree trunks? What starts the ducks? See them as they rise out of the water. Make a drawing to show their position. The drawing should show them flying in the shape of a horizontal letter V, as wild ducks fly. What words show you that they keep this position unbroken? Hear them as they fly off at their utmost speed. Why such haste? What makes the "swivelling whistle"? This is the noise they make as they fly. Imagine a whistle to be set whirling around as it whistles. The change in the sound due to the whirling motion of the whistle might be called a swivelling whistle. See them go, led through the shadow. Hear them, as they disappear behind a rocky point ahead. What is meant by their "whirr"? What has made us forget all about the beauty of the silent morning? What effect did this silence probably have on the poet's judgment of the noise made by the ducks? Now what is described in the third stanza?

Consider the fitness of the words "lazy", "sucks", "bleeds", "sneak", "swept", "splashy".

SYNTHESIS OF THE WHOLE BY CORRELATING THE LESSON WITH ART

1. Make a sketch of the scene in the first stanza, showing the rocky, high, forest-covered banks, with mist rising along the slopes, and the man in a canoe on a small stream below.

2. Make a sketch of the scene described in the second stanza, showing the winding river, with its high banks appearing to meet in the distance, the man in his canoe in the foreground, and over all the dim light of early morning.

3. Make a sketch of the ducks rising from the water. Show the reeds at the mouth of the creek and the rocky spur toward which the birds are heading.

THE LIFE OF THE AUTHOR

As it is not necessary to know anything about the author to fully understand this poem, nothing should be said about his life until the pupils become interested in him through their interest in what he has written. Then teach the main points in his life. See sketch of his life, at the back of the Manual on The Ontario Readers.

DICKENS IN THE CAMP

(Fourth Reader, page 287)

INTRODUCTION

By way of introduction, it might be well to tell the pupils something of Bret Harte—his residence in California, his experience as a prospector in the goldfields, his stories of the mining camps, and his admiration of Dickens. (See Manual on The Ontario Readers, p. 315.) These facts throw considerable light upon the poem, and will be useful in aiding the pupils to interpret it properly. This poem was written shortly after the death of Dickens. It might well follow the study of David Copperfield's First Journey Alone and The Indignation of Nicholas Nickleby.

PREPARATION

When the poem has been read, the teacher should, before beginning the analysis, ask a few general questions, such as:

What has Dickens to do with the story related in the poem? He was the author of the book read in the camp, Old Curiosity Shop, of which "Nell" is the heroine. (A brief outline of the story, with special reference to the feelings it arouses in the reader, might be given here.)

What kind of camp is referred to in the poem? A mining camp. The last line of the second stanza suggests this.

Where is the scene laid? Apparently in California, among the Sierra Nevada Mountains. This is indicated in the first stanza.

What is the leading idea of the poem? The effect which the reading of a story by Dickens produced in a Western mining camp.

What are the main sub-topics?

1. The scene of the incident. Stanzas I-III. 2. The reading of the story. Stanzas IV-VII. 3. A lament for the death of Dickens. Stanzas VIII-X.

MINUTE ANALYSIS

Stanza I

How does the description of the scene, as given in stanza I, differ from that given in stanza II? Stanza I gives the background and the remote surroundings, while stanza II places us in the midst of the camp.

What features give the story a romantic setting? The stately "pines", the singing "river", the "slowly drifting moon", the snow-capped mountains.

From the description in the first stanza, give as clear a picture of the location of the camp as possible. It was situated on the edge of a canyon in the Sierras, towering pines rising round about, the river flowing noisily beneath, and the mountains uplifting their snow-covered peaks in the distance.

Explain the comparison suggested in the last two lines. The mountain summits, with their everlasting snows, resemble in the distance the minarets, or lofty tapering towers, attached to Mohammedan mosques.

Which is preferable, "minarets of snow", or "snow-covered peaks"? The former, because it is a more unusual expression and because of what it suggests.

Stanza II

Why is the camp-fire represented as a rude humorist? It causes faces and forms that are haggard and care-worn to appear fresh and healthy, thus playing a grim jest upon those gathered round it.

Explain the significance of "fierce" in the last line. In the mad rush for gold, all the worst elements of man's nature are brought to the surface—disregard for the rights of others, contempt for law and order, and even carelessness with regard to human life.

Consider the fitness of the words "rude", "painted", "race", as used here.

Stanza III

What indicates the value that the owner places upon this book? The words "treasure" and "hoarded" suggest that it is one of his most highly prized possessions.

What suggests that this is not the first time the story has been read in camp? The word "anew".

How does the poet indicate the absorbing interest that the story has for these men? He says the fascination is so great as to draw the attention of these rough miners even from their card-playing. Explain "listless leisure".

Stanza IV

Explain "the firelight fell". The fire gradually died down, because, absorbed in their interest in the story, the miners forgot to put on fresh fuel.

Why is Dickens called the "Master"? A master is one who attains the highest degree of skill in some art. Dickens was master of the art of story-telling, a master of vivid narration, a master of pathos and humour.

Stanzas V and VI

Is there anything in these stanzas which might throw light upon the identity of the reader? He is probably the poet himself. His familiarity with the fancies of the reader seem to indicate this. Besides, the reader is kept very much in the background—we are told only that he was young—and this seems to be in keeping with the modesty of the poet as shown elsewhere in the poem. At any rate, we must admit that the reader was a poet, for he indulges in fancies of a highly poetical nature.

What are those fancies? Such is the absorbing interest of the story that even the pines and cedars seem to stand silent to listen, and the fir trees gather closer in order that nothing may escape their hearing.

What is the poetic element in these fancies? Ascribing to inanimate objects the power of human interest and sympathy.

What effect does the poet secure by picturing the trees as listeners? It enhances our idea of the absorbing interest of the story.

Mention any other illustrations of a poet's use of this device of attributing human sympathies to inanimate objects. Many might be given, for example:

Byron's Waterloo:

And Ardennes waves above them her green leaves, Dewy with Nature's tear-drops, as they pass, Grieving, if aught inanimate e'er grieves, Over the unreturning brave.

Longfellow's Evangeline describing the song of the mocking-bird:

Shook from his little throat such floods of delirious music, That the whole air and the woods and waves seemed silent to listen.

Mrs. Hemans' The Landing of the Pilgrim Fathers:

Amidst the storm they sang, and the stars heard, and the sea.

What experience of "Nell" is alluded to in the last two lines of stanza V? She and her grandfather had been lost on their journey from London.

Why does the poet say that the whole camp "lost their way" with "Nell" on English meadows? The narrative was so vivid that the miners, in spirit, accompanied her in her wanderings.

Stanza VII

What is meant by "Their cares dropped from them"? They forgot themselves, their cares and privations, and realized the hopes and fears, the joys and sorrows of "Little Nell".

How was this result brought about? It was due to the fascination of the story.

To what does the poet compare this? To some "spell divine", some supernatural influence, which causes their own troubles to disappear for the time being.

Give, then, the meaning of "o'ertaken as by some spell divine". They are brought, as it were, under the influence of some magician, who, by the exercise of his power, transports them from their own world to that in which "Nell" lives and moves.

Show the beauty of the comparison in the last two lines of this stanza. As the needles of the pine, through the action of the wind, fall silently and almost unperceived, so the cares of the miners were forgotten in the all-compelling interest of the story.

Compare Longfellow:

The cares that infest the day Shall fold their tents like the Arabs, And as silently steal away.

Why is this comparison more appropriate than, for example, like the leaves from the trees in autumn, or, like snow-flakes from the clouds in winter? Because it is drawn from the objects at hand, not from more remote things—an example of local colour.

Explain "gusty pine". A pine exposed to the mountain blasts.

Stanza VIII

Who is referred to by "he" in the second line? Dickens—not the reader of the story.

What is meant by "wrought that spell"? Produced that magic influence.

State the question in full. Is "he who wrought that spell" lost, too?

What tale has the "towering pine" to tell? That the mining camp has disappeared.

And what the "stately Kentish spire"? That Dickens has gone. (Dickens' home was at Gadshill, in Kent.)

What is the one tale that both have to tell? A tale of disappearance and death.

Is the question asked in the second line answered? Not directly, though the answer is implied.

State the substantial meaning of the stanza. The "towering pine" of the Sierras tells of the disappearance of the mining camp; the "stately spire" of Kent tells of the death of Dickens; both bear witness to the potent influence of Dickens.

Stanza IX

What is the "fragrant story" of the Western mining camp? The tribute that the incident related in the poem pays to the magical power of Dickens as a story writer.

Why is it called a "fragrant story"? The author poetically conceives of it as being laden with the fragrance of the fir, the pine, and the cedar—a sort of "incense" to the memory of the "Master".

What is incense? The odours of spices and gums burned in religious rites.

What poetic idea does the author express in the last two lines? The hopvines of Kent are represented as uniting with the pine, fir, and cedar in sending forth their fragrance as incense.

What is the meaning, then, of the whole stanza? Let the fragrance of the pine, the cedar, and the fir, mingled with the odours of the Kentish hopvines, be as incense to the memory of the "Master".

Stanza X

Does the poet mean that the grave of Dickens is literally adorned with oak, holly, and laurel wreaths? No; he is speaking figuratively.

What do these typify? The tributes of admiration, reverence, and love that are paid to the memory of Dickens in his own country.

Of what is each emblematic? The oak is emblematic of England, the life of whose people he so vividly depicted; the holly suggests his charming Christmas stories; the laurel signifies his mastery of the art of writing.

What does the poet mean by "This spray of Western pine"? This poem was written in the Western World, as a tribute to the memory of the great novelist.

What personal characteristic does the poet show in the third line? A sense of humility, which leads him to suggest that this poem is unworthy of a place among the tributes paid to the name and fame of the great artist.

Stripped of its figurative significance, what is the meaning of the whole stanza? To the many tokens of love and admiration that are offered to the memory of Dickens, may I be permitted to add this poem—a Western tribute to the worldwide influence of the famous author.

RECONSTRUCTION

Tell the story of the poem in your own words.

In a canyon of the Sierras, a group of rough miners were gathered about a camp-fire. Around them stood the stately pines, above which the moon was slowly rising; below, at the bottom of the canyon, a river sang, as it threaded its way among the boulders; and, far in the distance, the mountains reared their snow-covered summits to the evening sky. The flickering camp-fire played strange tricks upon those gathered round it, for it gave to the care-worn faces and bent forms of the miners the appearance of freshness and health.

One of the miners, a mere youth, opened his pack, drew therefrom a copy of Dickens' Old Curiosity Shop, and began to read aloud. At once, all other occupations were suspended, and everybody drew near to listen to the story. The whole camp yielded itself to the fascination of the tale, and in its absorbing interest they forgot themselves and their surroundings, their ills, their hardships, and their cares. One might almost fancy that the very pines and cedars became silent, and that the fir trees drew closer to hear the story of "Little Nell".

Dickens, the "Master", has gone, but, among the many tributes that are paid to his power as a writer, let this little tale of the Western camp be added, to illustrate the universal nature of his influence.

DOST THOU LOOK BACK ON WHAT HATH BEEN

(Fourth Reader, page 289)

PREPARATION

This lesson should be preceded by a suitable preparatory lesson on the life of some man, for example, Peel, Disraeli, or Lincoln, who, in spite of all obstacles, rose to eminence in the nation and lived "To mould a mighty state's decrees".

INTRODUCTION

Tennyson and Arthur Hallam, as young men at college, were great friends. The bond of affection between them was probably as strong as it was possible for friendship between two men to be. When Hallam died in 1833, at twenty-two years of age, Tennyson said of him: "He was as near perfection as a mortal man could be". From time to time during the next seventeen years, Tennyson wrote short poems on themes which occurred to him in connection with his thoughts of Hallam. These he finally collected and published in one volume, called In Memoriam.

PURPOSE

The purpose of this lesson should be in harmony with the purpose of In Memoriam. It should, therefore, be a study of life within the comprehension of the pupils. The lesson should aid in securing the development of character and an appreciation of worthy ambition and enduring friendship.

ASSIGNMENT

The lesson should be assigned in such a way as to encourage the pupils' natural desire to learn something through their own efforts. A few questions should be given to be answered from their own study, for example:

1. What does the first line show regarding Tennyson's present thought of Hallam?

2. What stanzas describe the progress of the man who reminds him of Hallam?

3. What is described in the remaining stanzas?

4. What lines suggest something about this man's feelings toward the scenes and friends of his youth?

5. In what respect, according to the last stanza, does Tennyson show that one of these old-time friends is like himself?

CLASS WORK

What does Tennyson describe in the first four stanzas?

Stanza I

Why does he call the man "divinely gifted"? Because he has had great natural gifts.

When should we call a man of only ordinary ability "divinely gifted"? What have you read that illustrates this? (If the pupils cannot answer this question, the teacher should tell briefly the parable of the talents.)

What is meant by "Whose life in low estate began"? Why are the details about his early life mentioned? State briefly the thought contained in this stanza.

Stanza II

What was the effect of his humble birth on his progress in early life? In what ways did it act as a bar: (1) upon his own mind; (2) upon the good-will of others toward himself? Which of these two do the following lines from [OE]none indicate that the poet would say must be overcome first?

Self-reverence, self-knowledge, self-control, These three alone lead life to sovereign power.

State in your own words, the full meaning of "breaks his birth's invidious bar". NOTE.—"Invidious" means likely to incur, or bring on envy, ill-will, or hatred.

What idea is suggested in the second line as to the opportunities which come to such a man? Imagine him grasping these fleeting chances. What were his probable feelings toward those things which eluded his grasp? (Be careful in answering this. Remember that the man has gained the mastery of himself.)

What is meant by "blows of circumstance"? What were some of these difficulties?

What does the action-word "breasts" suggest: (1) about the character of these difficulties, (2) about the character of the man? Explain "grapples with his evil star". What is the allusion? Tell, in the poet's own words, what this "evil star" was. Imagine this man grappling with it. What term do boys often use for a similar action? Which is going to win this wrestling match? Give reasons, from what the man has already done, for thinking that he will win. What does this action show about his belief in luck?

What do the action-words in this stanza suggest about the man's character? What sounds in each of the words help to emphasize this grim determination?

State briefly the relation of the thought of this stanza to that of the first.

Stanza III

What effect did the man's early struggles have on his mental power and character? What does Tennyson call this increased energy and strength of character? He calls it "force". Now, explain "makes by force his merit known".

What position in the gift of the nation do the next three lines show that he gained at last? What words indicate the emblem of the Premier's power?

"Clutch the golden keys." What does this action suggest as to his character? What word is generally used to denote such determination to gain power and influence? What makes such ambition lawful? What use does Tennyson show this man made of his ambition? What is meant by "mould a mighty state's decrees"? As Premier, to whom would it be his duty to give advice?

The people know that the sovereign must act on the advice of his ministers, of whom the Premier is the most influential; but they believe that the judgment of the sovereign often modifies and improves this advice. To the nation, this influence of the sovereign is a silent force, but, like the silent forces in nature, they believe it to be powerful.

In what words does Tennyson express this mutual influence of the King and the Premier? What features of this influence are expressed respectively by the words "shape" and "whisper"? What action-words in this stanza suggest the relation (1) of effort, (2) of time, to the magnitude of the work?

State in a single sentence the thought of this stanza.

Stanza IV

What is the final test of the value of a law? Its effects on the people. In what words does Tennyson show the effect on the people of the laws made through this man's influence?

Explain how this man became "The pillar of a people's hope". What words show the far-reaching extent of his influence? Which shows the more force in the man, his influence with the King or his later influence in the whole nation? In what words does Tennyson show which he thinks the greater? To which do "high" and "higher" respectively refer? What does "Fortune's crowning slope" suggest about (1) the honour which the man has now gained, (2) the nature of the road he has travelled?

Stanza V

Picture the man as he looks back after having reached the height of his ambition. Describe his mood. At what times does he indulge in these dreamy memories? What does he seem to see in these quiet hours? What hill and stream does the poet mean? What feeling does each awaken? Why is the "sweetness" called "secret"? Why is the "dearness" called "distant"?

Stanza VI

What part of his life is meant by "his narrower fate"? With what is he comparing that early life, when he calls it "his narrower fate"? Using similar language, what might his present position of great influence be called?

Some think that the first line of this stanza refers to the limitations or restrictions of his early life, while others say the poet was thinking simply of the stream, as the limit or boundary of the things that influenced his childhood. Which view is to be preferred? Which meaning agrees with the use of the word "its" in the next line? Would this man now look back on those difficulties of his early life as limitations and hindrances, or as things which helped to make him what he is?

Now explain "The limit of his narrower fate". Compare the direction in which he looks in his day dreams now, with the direction in which he looked in those of his boyhood. What is meant by "vocal springs"?

In what way were the games of his youth prophetic of his future work as a man? What do people mean by saying, "The boy is father of the man"?

Stanza VII

Describe the present occupation of the friend of his boyhood. What information about his friend does the word "native" give us? What phrases show how he does his work?

Compare the farmer's query in the last line with that in the first line of the poem.

SYNOPSIS OF DETAILS

Under the following heads, point out the resemblance of Hallam to the statesman and of Tennyson to the farmer:

1. Early friendship 2. Their separation 3. Progress since parting 4. Memories of each other.

It is hoped that no teacher will use these questions as a substitute for his own questioning. If they are accepted as suggestive in regard to both interpretation and method, they may be of real service, otherwise they will be almost valueless.

WATERLOO

(Fourth Reader, page 311)

AIM

To lead the pupils to appreciate the music and imagery of the poem.

PREPARATION

Where is Waterloo situated? In Belgium. What two armies were engaged in this battle? The French and the English; with the latter were some Prussian allies. Who were the French and the English commanders? Napoleon and Wellington. What was the result of the battle? The overthrow of Napoleon and his banishment to St. Helena. What would have been the consequence if Wellington had been defeated? Napoleon would possibly have had complete mastery of Europe. Picture this struggle of great commanders and disciplined armies, while Europe waited breathlessly for the outcome. (The pupils should read some good history of this battle.)

PRESENTATION

Read the poem to the pupils in such a way as to make vivid the scenes depicted.

DEVELOPMENT

What has the poet described in this poem? Some of the events preceding the battle.

What are the main pictures found in each stanza? (Write on the black-board.)

1. The ball

2. The sound of the enemy's cannon

3. The Duke of Brunswick

4. The farewells

5. The muster

6. The gathering of the Highlanders

7. The march to battle

8. Summary of pictures and the result.

Do you see any stanza that interferes with the progress of the action? The third stanza anticipates the battle and destroys the continuity between the sounds of the approaching enemy and the hurried farewells.

Why does the poet devote a special stanza to the Highlanders? Were they more worthy of mention than the English and Irish regiments? The author, George Gordon, Lord Byron, belonged to a Scotch family. The muster of the Highlanders at midnight, combined with their stirring music, made a very picturesque incident.

Consider the elements which contribute to the various scenes:

Stanza I

What is described? The ball given by the Duchess of Richmond. What is the emotion of this stanza? Pleasure, gaiety. What is the picture in the first line? The arrival of the guests, the welcomes, and the "revelry" of the assembly. Why does the author say "Belgium's capital" rather than "Brussels"? It suggests the capital of a nation with a noble people. Who were the "Beauty" and the "Chivalry"? The ladies, the officers of the army, and the nobility. Describe the picture you see in "bright the lamps shone o'er fair women and brave men". The large ball-room, the brilliantly lighted chandeliers, the beautiful costumes of the ladies, the uniforms and decorations of officers and nobles. Describe the images that are suggested by "and when music arose with its voluptuous swell". The bands of the regiments are playing the music of the dance. Notice how the poet changes the rhythm to the foot of three syllables, to indicate the music of the waltz. What contrast do you find in the last two lines? "Marriage bell" and "rising knell". What was the purpose of this? To show the contrast between pleasure and fear.

Stanza II

What is the theme? The sound of the enemy's cannon. Why does the author use the dramatic form? A conversation between two people of opposite temperaments gives greater reality to the picture. The first seems to expect danger, but is, for a moment, silenced by the other's upbraiding him for attempting to spoil the pleasure of the evening. A repetition of the "heavy sound" proves that he is right. The second is a lover of pleasure, who would not have the first speaker alarm the guests by his gloomy anticipations. Show how the second speaker indicates his impatience. His answers are short, he speaks in ellipses. "On with the dance", and "No sleep till morn". Notice the positive tone of the first speaker in the repetition, "It is—it is".

Stanza III

What is described here? The fate of Brunswick? Why does the author single out Brunswick from all the others who died? One specific case appeals to the reader more effectually than the report of the death of unknown thousands. Brunswick's father had been a noted general in the war with Napoleon. Explain, "Death's prophetic ear". This refers to a common superstition that "the veil of the future is lifted to those near to death". Show how the poet has broken the order of succession of the pictures. Brunswick's death is recorded before the breaking up of the ball is described.