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Les diagrammes suivants illustrent la m6thode. 1 2 3 32 X 1 2 3 4 5 6 tS 0M RE^I)INt :VS. M. ciARK «wl ^ ?^^|||4¥.j.i|ia3r#J..j :.-<■ A V s^. • 7 NOTES ON READING — BY S. H. CLARK. m yk 1^ TORONTO : THE COPP, CLARK COMPANY, LIMITED. 1897. «* i' vnsp. ft Lt51S73 C5V~ MY c 2- Entered according to Act of the Parliament of Canada, in the year one thousand ei|;ht hundred and ninety-seven, by ThbCopp, Clark Company, Limitbd, Toronto, Ontario, in the Office of the Minister of Aftriculture. 92ip3 GENERAL INTRODUCTION — To- READING LESSONS It is believed that the reading lessons contained in this series are the first attempt to present in an orderly and philosophic manner the difficulties the pupils have in learning to read. There is very little doubt that the reading lesson hardly pays for the time spent upon it. All authorities are agreed that, except in rare cases, pupils do not read any better at the end of the school year than they do at the beginning, except that they may pronounce with a little more facility or are possessed of a somewhat wider vocabulary. In many class-rooms reading becomes a lesson in composition, spelling, definition, and the like. The method in vogue in certain districts of telling pupils about « inflections," and " time," and " kinds of emphasis," is certainly faulty. On the other hand, very little more progress has been made by those who, in a very general and vague manner, tell the pupil to " get the thought." Again, by methods heretofore in use it was impossible for the teacher in any given grade to determine how much real knowledge of reading a pupil had who had just been promoted from lnw«»i &'« de. C.<. NOTES ON READING. In the lessons here presented it is impressed upon the. pupil not only that he must get the thought, but he is shown how to get it. The various difficulties of reading are presented one at a time, and further, are so graded that the least difficult shall precede the more complex. It is well known that the reading lesson, as a read- ing lesson, gets little or no preparation by the pupils. By the method here laid down definite preparation is a necessity, and the lesson which, as a rule, is very ill prepared, may now be studied at home with a very definite object in view ; and, more important still the pupil can be held responsible for definite results. It must be remembered that the young pupil knows little of inflections, emphasis, etc., and cares still less about them. While the teacher may be thoroughly con- versant with the whole range of vocal technique in readr ing, he should never use technical terms with the pupil, especially with the younger pupil. This is the very essence of the present method, which is based upon a well established psychological law : If the thought is right the expression will be right. We must remember that shyness, and other forms of self-consciousness (which so often mar the reading), are really but signs that the pupil's mental action is awry. The reading may be more quickly and more permanently improved by eradicating the self-consciousness than by resorting to technical drills. Make the pupil want to ready and the chances are strongly in favour of his losing self-consciousness. While it is not possible in the space allotted the author of these articles, to give the fullest possible instruction, yet these lessons will serve a definite purpose by present- ing to the pupilsj in a rational order, the various difficulties NOTES ON READINC;. | everyone has to overcome in learning to read There may b^ certain phrasesof technique which a teacher may miss m this series of lessons, but it is certain that if they are carefully taught the pupils will improve not only a ong the particular line laid down in each lesson, but along the whole line of reading in general. Very little is said in these lessons concerning emotions etc. It IS believed that it is wiser to defer any attempt to get mtense feeling and emotion until a later period. 1 his method is introduced in the hope that the measure of a pupils progress will not be gauged by the number of lessons he covers in a given period. It is better to prepare carefully and philosophically six or eight lessons in one half of the school year than to endeavour to cover three times as many in the usual careless fashion. The teacher may be sure that when the first six or eight lessons are thus carefully prepared, the progress there- after will be more rapid. There is no doubt that the pupil who will spend two years in this graded work will be able to read any ordinary selection with ease to nimself, and pleasure to the listene In conclusion it is urged (i) Jiat the teacher use additional examples under each new principle in order that the pupil may have the principle impressed upon him by selecting new examples for himself and by read- mg them aloud in class ; (2) that the same lesson be repeated as many times, with the same or new illustra- tions, as may be necessary to assure the teacher that the class has thoroughly grasped the .spirit of the lesson • and that (3) the teacher will insist upon most careful and adequate preparation. So, and only so. can we hope to teach reading. NOTES ON READING. NOTES. Lesson I. The object of this lesson is to impress upon the mind of the pupil the fact that the words have no meaning unless they stimulate thought. Too much stress cannot be laid on this lesson by the teacher. Nothing is so con- ducive to good reading as practice after the manner laid down in this lesson. It is. perhaps, needless to say that the teacher should be on his guard not to teach inflec- tions or pauses as such. No other aim should be held in mind but that of getting the pupil to see clearly and express forcibly. LE.S.SON II. In this lesson we begin exercises in what might be called "mental technique". It must be borne in mind that these lessons are planned with the object of present- ing one element at a time, and the pupil must not be expected to read well where he has had no previous drill. In this lesson, therefore, the pupil should be held respon- sible for what he has learned in the first and second lessons only. It must further be remembered that all corrections should be made by puting such questions as, " Is that the whole picture?" or, "Have you not given us more than one picture?" Never tell a pupil to make a pause here or a pause there, or read faster or slower. NOTKS ON KKADINC. j Such corrections are useless. We mu.t learn to rely upon the th.nk.n.^r to jrovern the rate of speed or the length and frequency of the- pauses. Lesson III. This lesson deals with the succession of ideas The lesson .tself shows plainly the end to be attained. Nothing w,II so much help the pupils to carry a long and intricate sentence m m.nd as drills such as are suggested here. It IS not for a moment contended that all the inflec- tions are rismg in long sentences. The falling inflection w.ll often occur where the phrase, for some reason or another, is particularly important, even though the sen- tence does not conclude with the phrase. This, however, the teacher can easily determine for himself For the present it is sufficient if the habit of continually dropping the vo.ce at the end of every phrase can be even partially overcome. ^ ' Le.sson IV. In this lesson we enter upon the study of subordinate phrase^ It ,s well to remember that the common rule about droppmg the voice and reading faster " does not always apply to the reading of subordinate ideas. The whole question is, how much is the idea worth? It It IS unimportant, perhaps the rule will apply ; but there are many cases where the interjected phrase or sentence ,s very important, and in such cases the time may be very much slower than it is when reading the prmcpal sentence, grammatically speaking. Much time should be given .o exercises under this head. It is the first step towards introducing variety into the reading. 8 NOTES ON R FADING. Instructions to pupils, telling him how to read such examples, should be avoided at all times. The one object should be to get the pupil to feel subordinate Jdeas and their relation to the principal ideas. Lesson V. We here come to the study of transitions. These are of many kinds, and only a few examples can be given If, however, the underlying idea in th»s lesson is impressed upon the pupil, there will be little trouble about the tran- sitions under other circumstances. The study of transi- tion is another aid to variety in reading. L'esson VI. Very little comment is necessary, except to warn the teacher against speaking about the various kinds of em- phasis. No matter what the kind, the thought will find Its natural channel if the conditions are right. It is true that sometimes a word is made prominent by inflection (nsmg, falling, circumflex), sometimes by slower time» sometimes by force alone. But let us remember these various forms are the results of various forms of thinking. Get that right, the rest will follow. ^ It is further worth noting that the best authorities use " emphasis " as signifying any means of making the thought stand out. Hence I would urge the teacher not to use the term " emphasis " at all. If a pupil errs tell him he has not given you the central idea. Lesson VII. The task of teaching pupils to read with feeling is iv^W of difficulties. In the seventh and eighth lessons I have NOTES ON READING. ^ tried to remove some of the difficulty, but the sympa- thetic co-operalion of the teacher is needed here more than in any part of the work. The imagination must be stimulated— the child's every day experience must be drawn upon, or failure is inevitable. Above everything else do not ask pupils to represent emotions that are beyond their experience, such as intense pathos, great solemnity, etc. Reserve these for the upper grades of the high school. Again, avoid the baser emotions, such as anger, hate, jealousy. I have not t' ipace to enlarge on this, but the whole trend of the best psychology is m favour of my admonition. Select extracts in which the characters manifest simple, noble, inspiring and up- hftmg feeling. Patriotism, self sacrifice, love of nature these are the themes with which the imagination of the pupils should come into contact. I heartily advise the teacher to gather a dozen or more extracts and speeches (from this book and elsewhere) under three or four significant heads, such as patriotism love of nature, etc., and keep the class at each phase until definite results are accomplished. I have no hesitation in deprecating the method that compels teachers to teach any lesson simply because it follows tha preceding lesson numerically speaking. The proper method is hinted at the mtroduction to the Third Book. I would now add a few words to justify the method there suggested. In many readers there may be two patriotic selections ; one at the beginning, one' at the end. Probably a year will intervene between these two. Is it not good pedagogy to take up these two lessons in succession ? To keep the pupils in a patriotic mood for five days in succesion must be certainly productive of better results than can be ob- 10 NOtEiS ON READING. tafhed by the other method of lesson one, lesson two, lesson three. So also wfth other emotions. In concltisioh I might acid that when a certain emotion is present ih only one or two paragraphs of a selection, only those paralgraphs need be prepared. Lesson VIII. The most Important fact to be borne in mind in en- deavquring to develop the pupil's sympathy with what he describes is this : tmitation of sounds, and gestures, and moyeftient is a very low order of art. We can't imitate thunder, but we can show in our voices the awe that it inspires. When we unconsciously hurry our reading under tlie impulse the imagination receives from contemplating, we will say, the rapid movement of a cavalry charge, we do so not in imitation of, but ih sympathy with the picture, this is not primarily a question of art, but of nature. It is only ignorant teaching that says to a pupil, *• Is ^hat the way the thunder roars," or « Read more rap- idly ; do,i't y6u see that you are describing the flight 6f the horses." Furthermore, if we read slowly a passage cJescribing a funeral procession, there is no conscious imitation 6f slowness, but a sympathy with the solemnity, stateliness and dignity of the occasion. A very little observation will show us whether the imi- tation is conscious or sympathetic. In the former case tlie voice will be expressing merely speed or slbwneas. in the latter, there will be speed or slowness, too, but accompanied by an indefinable and yet recognizable '>^ualttyo[ Voice, wtiich is the expression of our sympathy. This is an infallible criterion. "Lastly, It must be urged that we give more time to NOTES ON READING. ,, this work. The imagination cannot be developed in a weeic dr a month ; and unless there is imagination, there can be no sympathy. It is difficult to restrain one's self and not dwell longer on the value of the training of im- agmatlon. 1 have no hesitation in saying that it is that feature of education the most neglected and the least understood. Such training as is here suggested will do m many cases, much to bring about a more favourable Rendition of affairs. But it takes time, and plenty of it The teacher should read to the class quite often such passages as ^re likely to stimulate the imagination. Make the class follow attentively and get them to give back the picture, as far as possible, in minutest detail. Do this again and again, and improvement must follow Just in proportion as the imagination is stimulated may we hope for a better class of reading. Lesson IX. Contrasts are of two kinds; logical and emotional- Ihe former are largely antithesis, such as, " I said John not Charles," and will need but casual attention. The pupils will perceive them without difficulty. The other class needs much care. Perhaps the most important fact concerning these that the teacher must bear in mind IS that their successful rendition depends upon the pupil's keeping both parts of the contrast in mind, the first serving as a back-ground or relief for the second. Much time should be spent on this lesson, with these and addi- tional examples. Lesson X. The climax is a very important feature in reading. It stimulates the imaginatinn anH f«/»ij«^^ «,,j 4.1 i. .. 12 NOTES ON READING. the voice. It should be remembered that no definite method of expressing a climax vocally can be laid down. In one case the pitch may rise ; in another it may fall. Sometimes the force increases ; at other times it di- minishes. Hence, the admonition so often given must be repeated ; don't tell the pupil to raise his voice, or ta speak louder. \ ork at his imagination. If there is a climax there it will come out in his expression. Frequent drills in climax will do much to give flex- ibility, power and range to the voice. And that, too, in a far more rational way than through any mechanical exercises in pitch and force. ' NOTES ON READING. n LESSON I. We are going to study how to read; and the first thing we must know is, what is reading ? whatTh!vT/°^'"'"J" '"^ -''°°''-°oni, I could tell you Trite t No ri^ • ''"' ''""' ^' "^ »° '•*^«P»" ' ■"".'t write It. Now before we answer the first question let us try to get an answer to another. What is peak;' ^ S^ak^g ,s telling someone what I am thinking or ftel- - It -^'t '■""' ''""""S- But you are no.f and so from .he'printed or wriufn page '"" '^ '"'""' *'"'^'" [firstthtlf *- *' P""'*'' P^S^' »hat do 1 do .' I first think over very carefully what I have to say and lean n^Tr' "'"V'^ -^* «>a. will give 7o'u m J T^T\ u "^"■^'"''^■•. you must study my words Have you been attentive so lar? Let us see r»n you ten me what speaking is P What rellg i^If J „ can t don t you see you haven't been paying attention" likHilTi „l^^''f It '"* P"""" P-S- should be just be moTcaref Hn ''h" "'yj^'^^^"^- V.s, you must explain things to you, or to repeat my words Yo>i have only the printed words and -T v- • v • ' 1^ J «vi-rii», ana ii yuu aon t listen very i4 NOTES ON READING. Now let us see whether this is clear. Here is a sentence. Can you see what I see ? "The next day, which was Saturday, the king called h.s^ generals and some of his friends to the royal tent and told them, in a quiet voice, that at daybreak on luesday he was going to return to London and give up the war. ^ t> f Now take your eyes off the book and tell your teacher all you saw. and tell it in just the order the pictures occur on the page. If you miss any steps you must read agam and again until you see the whole thought so clearly hat ,t seems real ; the^ I am sure you will be able to tell .t correctly. You need not use my words, just use your own language. When you have done this, you are ready to take the next step. Read the sentence to the class so that you make them see just what you see. Be sure vou never forget this last remark. You must remember that unless you /r, to make them see the pictures you have in mind, they will be very likely not to understand you. What have we now been doing ? First, we studied the meaning of the words ; second, we got a lot of pictures ; and third, we tried to give these pictures to others So we see that there are two kinds of reading ; one for our- selves the other for others. The first kind must always go before the second ; for if we haven't anything in our minds to tell, how can we give it to others ? Let us remember then, that reading for others is just like talk- ing to them, and unless we get from the page just the thought the writer had in mind, we can't give that thought to another. Sometimes it is not easy to get this NOTES ON READING. IS thought, but if you will study carefully, it will get to be dearer and clearer, until at last it is just as easy^to under! stand as if it had been your own I want to give you a short drill, and then our first lesson will be over. in "tie tll/> """'' ""' ^''"' '■' ^''"'- '^'" ■■' '"'"^ ^">^" Can you imagine how green grass lool