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Maps, plates, charts, etc., may be filmed at different reduction ratios. Those too large to be entirely included in one exposure are filmed beginning in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method: Les cartes, planches, tableaux, etc., peuvent dtre filmds d des faux de reduction diffirents. Lorsque le document est trop grand pour dtre reproduit en un seuS clich6, il est film6 d partir de I'angid sup6iieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images ndcessaire. Les diagrammes suivants illustrent la mdthode. 1 2 3 1 2 3 4 5 6 f f> THOMAS BROWNING t LESSONS IN LITERATURE FOR HIGH SCHOOL ENTRANCE EXAMINATIONS 1 892 - 1 893 BY A. W.BURT, B.A.; I. LEVAN, B A. ; E. J. McINTYRE. B.A. ; THE REV. j J. MILLER, B.A.; W. H. HUSTON, M.A. ; N. SPENCE, B.A. A. STEVENSON, B.A. ; F. H, SYKES, M.A. • J. E. WELLS, M.A. I> Edited by F. H. SYKES, M.A. TORONTO Grip Printing and Publishing Co., 26 and 28 Front St. W. 1892 ) rv'- office o„be Minister of AgSmre """'° '"" ''■""'»"" <=<.., in .he PREFACE. isand a the t.«.h P'^T^'°^.f "^""'^ °^ *^^ ^^*"^« °f this little volume to the eelsthrtrft '""'.' ''/"'"^ '^'°°' literature classes, the Edifor frpllce ""'' of-planation, as to its origin and character, are For some time he has telt, as an examiner and teacher th«t th^ classes m literature for the High School Entrance Exam n J^^^^^^^^^ ^n nth' ' ^T"' *^"^' r P"^^^ "^*^ '-''' ^^- -d accuracy as classes n other subjects, or at least instruction in literature was far less eff^ twe than .n other classes. This he found was likewise the exiriet^ of many teachers and examiners throughout this Province ^ P^"""*^** He has thought that the extension of those methods of instruction now prevaihng with marked success throughout Ontario H,VHri,,' in treating the iLrar^ slw. . ^ "^ suggestions to the teacher occur in the text tf^ ''^.7'' ^' *? ^''P^^^^ ^" ^^^^-^Ities that Toronto, Jamiary, 1892. i INDEX. «P Fourth I^eadcr. Lesson IV. Page 25. II VII. 35. II XIV. .52. •1 XVL 60. II XXI. 71. II XXIL 72. II XXXIV. 100. II XXXVII. III. II XLI. 122. II XLIX. 148. II L. i.Si. II LXXIX. 233. ti LXXX. 240. It LXXXIII. 249. II LXXXV. 256. II xc. 274. Lesson V. Page 31. 1 1 X. II 43- II XIX. II 67. 1 1 XXIV. 1 1 74. 'PLANATOKV. Midshipman is the second rank obtained by officers in the royil navy the cadet being the first. It is, however, merely a position of apprenticeship, whero the aspirant receives instruc- tion for future duties as a naval officer. His practical duties are to transn.it to the seamen the orders of a superior officer, and to watch over their execution. Careless — Note the force of les.s, — free from, ^ Coach— ThQ English coach is a closed, four-whe^ ' )d vehicle with springs, drawn by two or more horses; it contains two seats inside, and is built so as td carry baggage on top. Gig— A. light vehicle with two wheels, drawn by one horse. Quarter-deck~T\\Q portion of the uj)permost deck between the main mast and the mast nearest the stern (the mlzzen mast). Sea-serpent —The great sea-serpent has been the subject of many sailor's tales ; wheLher it is a reality or a creature of the fancy is a matter of doubt. Many stories, however, are told of such a monster that one can hardly disbelieve— so circumstantial are the details, and so respectable the narrators. ^ jfib-boom—A spar run out from the end of the bowsprit to which a triangular sail is fastened. ^ Main-top-mast cross-trees— The " cross-trees " are horizontal pieces of oak at the top oi the mast, sustaining the top of the lower mast and spreading the shrouds (ropes) that support the mast above. The *' main-mast " is the chief mast, standing in the miaale of the ship. Upon un-s mast is placed a smaller one called the top-mast, and above it a still smaller, the .op- gallant mast. These cross-trees rei)resent very lofty points on a sailing vessel. Make a diagram. Not a sparrow falleth to the ground— Sec Matthew ix. 29. Our eyes are held that %i>e cannot see— See Luke xxiv. 16. ni. QUESTIONS AND EXERCISES. I. ]Vho is this ? Is this better than beginning *' There was once a little midshipman " 'i'HE IjTTLE Midshipman. II 2. Chimney. tops Is it a better term than •' city ?" Why ? 3. Every new object grrs him f/esh di/ir;ht.— Why ? Th*.t«.y^^- 'IV '''''." ^""^ "^^-^ t^^^'s everything he knows? The robber is different in every respect from the boy except that hey both are restless. Notice that this restlessness anse^s from Ciifferent motives m each. 5 He never talks, he, its apart. What would von say he is faS.lsS.e'.t^S.V ^""'^"' ""•^"^^' ■""°''^' ^^'^■•'■^''' ': ^f «;«'fA^5 A/;« narroKiy: how does "narrowly" iret its meaning in this hne ? ^ ^ 6. " Parsonage^ i.e house where the parson lives. Give other words in —age, and show the force of the sufHx. 7. He will do worse. What ? Why not say so ? [When the lesson is read as far as the middle of page 26 Ih'cW tVom"^' ^'h P"P^^V-y "^"<^h to trace on the blaSboard the cW trom i^ondon up to the entrance ,^ the wood, review- ing the scenes and objects passed. Then as the pursuit advances the sketch may be added to.] i^- sauces, 8. Now he gets the start again,— over what ? Had you difficulty m telling? Should there be any? Was it your fault or the ^StJ.]^'"' "^"^ '"^^ '^' *^"'* ^« V? [Obscurity! 9- Give the meaning of " asunder," " outrun," " wayfarer, " "canopy," - fern," (a specimen would be interesting) ? ^ r.J^^S'^''^-' ^''?}^}'\: W^'"* mood or temper did this accident put the boy in ? Did he lose his cheerfulness? [He is vexed he C? rTh^'t"^*"'"^ is capable of being, at the bish.] Should friend "^ ^ nfn fV '^ Tl' ^"^V"^^^'- "Faithful are the wounds of a triend. j Did the white-owl coire for his good ? II. Explain the meaning of the "main track" and of "dairy "? v,.'^^* ** S^^""^^^^^! %•" How does he show lack of thought here .r [He runs after danger when danger is running away from ^oinl'o?' 'Tht"/' -^^'""^'"^ "^u' '^'' ^^^'^ '^ "o ^^^1 ploughing fherf r? 7^Z '''"fK' P'°"^^'- ^^y *^^" -^^s the write? say there is ? [Because the moon seems to be shoving through the clouds, as a pough forces its way through the sod, and the clouds are m ridg.s just hke the ploughed field. It is not plough SI^VhTf^Tf"*'^"^'"'";"^^/.?^^"^^^"^'^^^ ^hen the writer rcYlld . n^ f T°? ^\.PL°"?*^mg' «1^^ uoes a figure uf speech the sky^ "letaphor), which gives us a clear and pretty picture of 1^. Listens breathlessly. Why? Explain "thicket." 12 English LixEkATURE. 15. Shall pass. How is it different from " will pass " ? 16. The jaws of death—another metaphor, explain it 17. Explam " benighted," " at any rate " to heaS flT '"■"" ^"^ " "'^^ " • ^^'-y -- " - P'— 19. Explain " in comparison." 20. Provide.-Explam th, meaning by derivation. if/:^;L JtTiiiiT ■' ^--^ '— ''i,is^-,:.>s /tow 2 Are there any names of persons or places in this story 9 rv ; \l' Jf *^/ ^*ory °f the little midshipman a true storV [Not exactly, the facts may never have occurred.] ^ " . 2. Do you think it is meant to teach cs anvthin- or th^f h IS a mere story ? «*uyiiuu^, or tnat it and^FaWesJ^'"'^'^^'*^"''^'" ^"*^"^^^^ *° *^^^h ? [Parables 4. Name some Parables, f" The Sowf^r " «< P.-„,r i o etc., of the New Testament.] ^ ' ^' """^'^^^ ^°"' 5. In what sense are these parables true ? 6. What are they intended to teach ? teach.- ^^""^ '°"'' ^''^'''' ''^"^ ^"" ^'^^t they are intended to intendel'olelchT V^^!^^;:Z:\^^ ^^^^^^^^^ ^^ gat^wSr ail— ^ ^iT'dlS ^i:S^5.1^ tho^r-o/rS:: anllJ^^ifer- -;;--: ^^-^^ar to K. J. McL Sh ) BOADICEA. BY WILLIAM COWPER. ♦♦ ^-O^iiC* I. — INTKODUCTOKV. JJISTORICAL BASIS OF the POEM.-Boadicea (hi y ^. -/ ^ was a British queen in the time oF+hi t V^o-a-di-se'-a) She was the wife of Prasutaeus K^^^?f ^ Emperor Nero. ir'^abitin- the ^a^f— - ^ ^ >t, - ^ °^ ^^^ ^ceni. a r^er^r^^p m-itn...^ l(,t; tjastcm coast Ot Hl-ifmn r\-^ U- 1 - i-<="x''« A.... Prasutagus „a,„ed the ^i^t^ir^l^^t^'^^^Zll 13 14 English Luerature. treasures conjointly with his own daughter, in expectation of securing thereby Nero's protection for his family and Deoole- but he was no sooner dead than the Emperor's officers seized all. lioadicea's opposition to these unjust proceedings was resented with such cruelty that orders were given that she should be publicly whipped. The Britons took up arms, with Boadirea at their head, to shake off the Roman yoke; the colonv of Camalodunum, or Colchester, was taken and the Romans inassacred wherever they could be found. The whole province of Britain would have been lost to Rome if Suetonius Paulinus (the Governor) had not hastened from Mona (Anglesea) and at the head of io,()(H) men engaged the Britons, who are said to have numbered 230000 A great battle was fought, which resulted in the complete defeat of the Britons (63 a.d). Boadicea, who had displayed extraordinary valor, soon after despatched her- self by poison. ('* Encyclopaedia Britannica." See also Free- man's " Old English History. ") ir. — EXPLANATORY. Her Country's Godsi Spreading Oak. Druids, etc.—'' There was something grand and yet horrible in the religion of the Bntains. fhej; had priests called Druids, who had secret doctrines of their own, and who are said to have offered up men and women as sacrifices ; but the people seem chiefly to have worshipped nature. They adored the genii of the streams woods and mountains. The oak, with the mistletoe growing on It, was their emblem of Divinity ; and they met for worshio in caverns and in the depths of the forest." (" High School History.") ^ ^ ociiooi Rome shall per isli. —The foundhig of Rome is ascribed by tradition to Romulus, in the year 753 B.C. At first she found It dithcult to maintain her own independence, exposed as she was to the attacks of hostile tribes, but with a growth that was truly marvellous, she not only reduced all Italy to subjection, but became mistress of the world. The conquest of the Italian peninsula was perhaps her most difficult, as it was her first con- quest. It was not till 264 B.C., at the close of more than a century ot almost uninterrupted fighting, that she became undis- puted mistress of the whole peninsula. Then the fatal lust of conquest seized her. Across the sea, on the northern African shore, was a rival city, Carthage, mistress of the sea, and greatest commercial power in the world. Carthage had been making settlements in Sicily and Spain, and Roman jealousy was aroused. A struggle ior supremacy commenced, which resulted in the three well-known Punic (Puni, Poeni, the Carthaginians) wars, m the second ot which Rome was almost conquered bv the ere.at Carthaginian general, Hannibal. However, she finally succeeded f/t \ c a c V 1. \\ (> o 3' w a] A. in BOADICEA. IS f/l From th •"?•''''' ''''''''; '''"^ Carthaf^^e was levelled to the ground hron this tune no adversary appeared who was really dangerous ^reece, once so mighty, was subdued; Macedonia became another Roman province, and the Roman arms were carried fnTo now ' ri' V''*^'''cP'°y^""« ^^^ «°«n constituted in what is now Asia Minor. So the whole basin of tlie Mediterranean became Roman territory. But hand in hand with Increase tion'bf theTeouhl!!.";'^ "'^"' ''''''T^' ^^^^^- ^he free 0"^ tion bt the Kepubhc became an oligarchy and soon an 'mnerial despotism was established. The bSid, nHtitary character of Jhi early Romans was lost by the habits of vofuptuousness an^^^ Lrev to'thi'"-! f T"', "^-^'^ "^^^^'^^' ^"^ they became a tempW prey to the vvild barbarians Irom tlie North. Various Teuton f ionnt{':^T"t'l'''' t'-V"''"Pi^<^- The Goths were oTe of The mo t foim dable of these tnbes. About the middle of the third cenTury S vThL rot"h "r' T'' '''' ?T^" ^'"Pi^^- I" the fourS century the Gothic kingdom extended from the Don to the Thek., and rom the Black Sea to the Vistula and the Bal ui Their rtl^^^;ri:!t:iSari:^— ^^-ded^sis^; in lo/f^rfofn "'T^' ^^'^ Let the doom of Rome be chronicled le livales " R '~^^' '^'^"1 r "^" '^''''^ "^ vengeance aroused by . nil . ^Ik ^''"?''" soldiers. The blood that she has soilt shall be the sure sign of her fall before the eneniies tlmt her conquests have banded against her. enemies that her Tmntpits on a thousamt states.—The imperial svstem nf Rome was very despotic. Little liberK- lift i dif ^>^^^e'" ^^ was permittedtothe «>nquered pip e^ ^in w of the river Po), several times threatetd her witfc In «''" A.O., when Alaric took the city. ^^^^-iter calamity of 410 Sounds, ujt yims.—Referring 1 , the decav i^( th« P military spirit. uecay ot the Koman i6 English Literature. Asf 3,h north xoast, was a region ot unknown horrors^ tnotn-tdEnZTZ °^:^T '^'"°'' *"= ""* much bet '; impire?' """' "■"=°'"J"^'-«''. Compare the extent of ?heC4 a crr-To* "^ -i-i , , ^" *"^ ^^*t^r days of the Republic was ma?r'H"con'a"'Je ^^"^r • f -"^"."^ ''"'''or, orator S stares! ofWsrivnl P?Ztr^-°^"'' "'^^'^<"i Britain, defeated the party allh sSLru'^Terta\fnls%f" ^''^ T^ ""-""-^^^f"''" at Rome butVas aslasSed"; t*^,""^lp^,°? <'XS'= ^11" ?l^?fc? Em"' '''^ "fT''^ ^™' ■>""- cSoctaviiTuf became ook^he i ?e'^o?r^L^°'"^' »-'^".*''" >=ucceeding empe;ors a"o the molr';,'"Kds*'e?"";>d "c'a'r "°" '"' =""'' "°^^ ^P^^''^^ *" ancie^^'The'-blfd'orWe^^"-!?"''"' 'T "^^ '==",'^'' "^ *« ;ar^fsnust"i"° %"»«-'■ -^—'^""^-"r^ a^d?pTe'dftrfhe^™ro'na^.eS;^';^ """'" ^'^'-- "^'^-^^^ hoJv:tJ;; ti^rc'j^faci'/toTh.^ tt B^iL-Jh'^oi^d? that was destmed to reach glories. On the contrary, the British S^fsceSTs" wh''o*']f/"^,!'t<*"S'? ■■'"'' Saxons) ind It fs"lt uescenaants who have built up the present mi»htv British ofXruatfe'r?"" '"P"'^'' *° ""'"^« ''« P-''^ r^pre^n'^Siot III.— QUESTIONS AND EXERCISES. /.\ n ^^^..'^h^t personages are represented in this noem ? Dr„?7? «^^4K ,"]■ r *"" ?''""e« '^°<'= 'he Queen regard the g maf cTr'se' 'dfd'T Xrn';^?«\'r:, l""^ "' '"' P^^ " wots' "urnX^i?"' ''ff < ■r^''^' ^^-''''^^-^^e S"l pronhecvT^.i^ n^""^"'^ (12) Does she misunderstand his RXn7=.L*.i.^''^™'='""P"""^'= with Boadicea or with the BOADICEA. 17 II. (i) Point out words or phrases that are of a poetic nature pi^^eSki?"r''"'^ ^^^^^"^• ^^> ^^-^ '^ n4nt br''he; toh^f fi V^^^'V'''''^^ (3) Why is that expression said pare ifridf w!th^ 'P""'^ ' what figure is it ? [Note that we com FhJr J '*^ ^ P?''^^^ '^°^^°g 'iown to the dus^; we have corpar?sorThT.?"""^-""^^^" "''■-^^^^' ^'^'^^ - ^ 4"- "^ SZ&fl This comparison is stated absohitely, which con- f'^^'^^^^l"? ^^'t^phor^ (4) Point out similar figures in the poem 4wfu '• Ivre P ^8/ W^P^'^'y "^'P^^'"^ ^^ ^^^^'^" • 7 Why « pU less as nrond '^ ?1 WK^.^" "^^^^-^ P^""'^^^ "^ ^°"nd in aritv? fAfnti^^I?- n- , (9> What name is given to this peculi- tion'intLfpoeim""^- ^^"^ "^""^ °"^ other instances of aSitera- V. — BIOGRAPHICAL. out ^pl^tr^fjr''^ ""^ '^^ Elizabethan age had almost died out. Foetry had become a soulless thing, a nicely polished form Krlt 5?ktrr'' ^'^ ^P'"* ^"\«^^- Cow^e? was on'rS me hrst in a reactionary movement, by which akin the s.inpr .he p. rz '^^;:^zii:^;^^i^ ^i^j£ world was a mournful prelude of the life tl/at was to follow He fTo'm'Henfvlirf/T'^' f."^ ^.^--^^^ th^^ugh hfs^Ioth"? irom Henry III That mother died when the little, sensitive srl nnr^'l^"'^-"''' ^^^.'^ °^ ^^^^- "^ ^^s Sent to a'boardw! school, where his experience was such as he could never Sook bTck upon without shuddering. After spending two yirrs with an schoo ' ^leTe r/afd'tr^' ''7%"^' h' P^'^^ to'westmlSste? ship '/t ll^htptn I the foundation of a good classical scholar- ti^^ eighteen he left school to study law, and in course of bme was called to the bar. But all hope of k sucJessfulpro fessional career was cut off by an attack of insanity. He reco veered after a few months, but, abandoning all thought of a returTtoWs profession he was provided with a home at Huntingdon Here he made the acquaintance of the Rev. Wm. Unwin his wife and i fdendsht" th^.r;^^*"'- '^^^ f q-intance ripened into'o waTm a Ser of thp rSr^^'l.'^^^i'^/^^^'if^^^^^^^h^^^^ ^"^ became a member ot the Unwin household. They were intenselv reliVi' trnrnP^'/^^' f^"?.^^"^ ^^"g^<^ the fervor that Is big ^It thioughout England in the form of the great revival of reLon which produced the Methodists. Aftfr Mr Unwi^s S Cowperar.i Mrs. Unwin removed to the dreary tow^ of oLev' preacher'o'f ' tre"'"'-' " 1 Tf^^ ^' ^^'^ P^^^^"- oLn'enthuSastfc' preacner ol the revival, John Newton. A lif» =„=„f :„ .,-.•„».- rupted rehgious exercises-for hymn-writing w'as 'scareefy aa 2 i8 English Literature. interruption-brought on another attack of insanitv, which lasted for more than a year. John Newton left Olney shortTy after and TeZe:^:s in::t\> ^^^v^^^^ '^,^r^ ^ /oet^'Kuthfui HH? H = fi .^ hymn-wnting would scarcely have justified the is Tru"h T^rS 7 themes suggested by Mrs. (juwin, such and dull Jffn;^^'•^l\^"*>'^.^.*''^^'■^ criticized as tedious and dull and too distmctly religious A happier choice was s"?r^e%"th2^"?'^''^"^e^vL^^^ A-t-^' baTe him take fo subject the sofa on which she was reclining. The result S'i,^"^ r^'^fr' ;^"r' :^''^ T-"^'" i" whi^k the poet i coun^rv iS .n"/^' fashion from the sofa to country- walks and anS S'it cal Yet ° Thfr '^° •' subjects philosopL, religious nrohffiv ,^t r i^''^ ^""^^ '^ ""* ^^ ^^^11 known and will Cowper has b3en called the best of English letter- writers His letters ,.re written in a gracefu' r.nd natural style a7d are ulroTlhTpoeT '''" ''''^"'"" *'"^ ^^^^^ ^^ *he character and clouds°'^^?nf«n>'^ ^''^- "^^'^ ^^adowed by steadily thickening stricken ^^^thTZ^^^''' 'Tf^ ^T . ^''- U"win. also, wal Dlaceln Thl h^ 7 u' ^"/. *^°"^^ ^^^^-^ '"^^^d from place to she died hi xX r ^^""^^'l^Sher, the hope proved vain, and faLultP^fnh'7^1 ^""^P-^^ had not sufficient command of his taculties to be fully con ;cious of his loss, and during the remain InfreSurnt'^'Sis^'lait '''' *'l ^'^^"" "^ ^^^^«" wfrl faiJand wtcTrhavfanlt^^^^^^^ Sl^of Apr^?^;\LT^ " ^^^^' ^ -' ^-- liberatr!:rtt N. S. ich lasted after, and . youthful stifled the win, such s tedious oice was take for le result ! poet is alks and religious and will such as rk." He but with •-writers, and are cter and Ickening so, was place to ain, and d of his remain - lint and 'ay," in his soul •, on the N, s. THE LAMENT OF THE IRISH EMIGRANT. BY LADY DUFFERIN. INTRODUCTORY. able to read it ^raODreriS )^^°^"'J° "'^"">ry< aid are teaoher-s work^wlu r Sm°plished ' '"'' '""'^ " ^^™*'^' '"^ THE LESSON. emoL'SSfto'lTn because of its or rhetorical structure Let us s^lv Vr"^r^ S' f-° '^' rhythmical sad events cloud the Hfe of the Em erlJl't Wh^ l'"^' !^ ^"^ ^^^^ gather from his few word^ t W jf ^If ^^^* ^ ^*°ry we can he had no thoughToFa^i^'^^^^^^^^^^^^ when Mary^^Jer^'e^arer^I^t St ^e"^^^ -'"-^tt heart, day.'sitting on the stile wxthhis^^^^^^^^ "^^ to hin. that green, the lark was sin^ng hieh in thl^ °' V^^ ^^^^^ ^"^ beamed with love and Sfness Th * k ""' ^u^- ^^^^'^ ^Y^^ fullof hope,-trustine he nW^nH They began their married fife denly a terrible {Sne!Z7 hnl ."]!J^ '^'^ °*^^^- ^^^ «^d- Hunger and wan'^S t^^littb Slv "Thf^^^'. ^""f S^"^'" gave way, and with that hisLpe LdS in God "r f m""^'^ brave heart kept ud its trust , """^f"' ^"' ^".^ ^'■^"^ ^-^^^^ ^°«^s, and bright Mary lies and the Htf^lVf'^ t^''"'"!^" *^'""^'^^*' ^'^^ P»^^« ^^ere K- a iff * . "*"^ ^*^^® ^^ere they sat side by side and the bright May morning when first she was his bride. E. J. McI. BIOGRAPHICAL. svinl^hlS?"" ll^^^ expression of a true, warm Irish heart that ieUn^^l^^^"^'^^ *^? ^''^''. ^"^ "°"°^^ of I"«h hearts. Helen FnXnH^ ^^".""f J""'" '? 1807, the grand-daughter of one of England's greatest dramatists and orators, Richard Brinslev feduston'ofS''^" careful mother, she Us Vanned rthe seclusion of Hampton Court, in the companionship of her sister Rh?n:'')td't1,i'r ,''"• ^^cj-*^" ^^"^^'^ °f " Bingen on he the Ear of Duffen^'' R '' ?-l ?""^?^«?t- Her first husband was she won thP nfffof ^,^,t"*'^" ^"^ ""'"y ^^ ^^^1 as true-hearted, also hv h^r ,f ?"' °^, *^'^ P^°P^^. "°* °"^y l^y l^er disposition bu wrker^'fhe'T; h^F^"'^^ P.".-'"^. ^ ^^^ ^" ^'^' P^^^^^" says one writer the lush Emigrant 'is the most universal favorite Noth- ing could surpass its simple and touching pathos and fidelUv to r areweil, Katey's Letter," and '« Sweet Kilkennv " are llsheT" The^H '^^ ^T ' Y" ^^ -P^^^^ ^^^^ Dufferin "/as p^b' Wh i-f V\t .Honourable Impulsia Gushington," satirizing the £ s dea'h *^^/,-t-y. She married Lord Sifford shortly b'efore poems and fnthrr^ ^'?1 '" '^^7. but her name lives in her poems, and m the fame of her son, whom we have known p honored as Goyernor-Geueral of Canada. ^ THE HUMBLE BEE. BY RALPH WALDO EMERSON. RALPH WALDO EMERSON. I. CRITICAL AND BIOGRAPHICAL SKETCH. " Y^^ ^re a new era, my man, in your new, huge country." So said Carlyle, tiie sage of Chelsea, writing to his friend Emerson, the seer of Concord. Hear now, further, Emerson himself outlming his own mission and the great end of life " What is a man born for," he asks, " but to be a Reformer, a Re-maker of what man has made ; a renouncer of lies ; a restorer of truth and good." From such a man we seem to ourselves to know what to ex- pect. But how vain this belief is we learn as soon as we begin to 21 22 English I.iterature. l^io stiU'artt&^eH^^^^^^^^^ T*^'"'' "^^ «-<^ -« eternal as an idle echo from the dead Tf .llfK^^lT Y^ *° Emerson but says so with such sweet reaso;abIlU^?f ''"^" ^^'^^^ ^"^ ^e ed; some of us indeed n^^^T?,,^ *''''* "^^ ^^""ot be offend- right. Yet he is not in.r^f '^ ^f T ^" Persuasion to see that heis He has built LwXinesv^tW^^^^^ ^1°'^ ^"^ ''' 'P' • a higher practice. "' ''^^'^' ^'^ Pleaches a finer .Lth, chiefl^;L^fe1o1o%nrwrh\u?oro1*S^P°^-f *^* ^ ^-« " The Humble Bee" i^of hkfoH!l • .^ P^.^""' *^° ^^^ ^"tten. new epoch in American poetrruL'slM^^^^ inaugurating a strong poem by a writer of anv rnnc;?i ki*° ^''''® ^^^" *^e ^^st native topic. Pre^ouX Am^r.V. ^?^^^ !:^P"*® «" ^ purely for themes or modSs ofThtmes " iTV' '^^^^ r-n« over the sea the poet I describe. W* ha^f* t had no '" '•^"''." ^.^ "^^^' " ^^^ knew the value of ourYn^oXa^alv^'lraSr. " ^"^"^^ '"^^1 ^^^1^. of the Protectorate.'' ' ^^^^^11, and otlier worthies . The general style of Emerson's wr,'fin« ;« i,- as m his poetry is also iHustS^n th fpo^em ^^Sf ^^^ ^« ^^11 to say, and says it so brieflv in enifL?° "^ He has so much sentences often seem to l/r^i, ^P^^^ets and images that his Vet this lack of coSnc^i^oVr^^e'S^^^^^^^ ^t"h^ ^'"°*^- t^l^f^-tS;^^^ ** Seemg only what is fair, Sippmg only what is sweet. Thou dost mock all fate and care Leave the chaff and take the wheat." accid''eni?rut1h';X:r"^^^^^^^^^ he was not an ings. He was bo^rnT .^3^,^^^^^ eTc^^^^^^^^^^^ Thk Humulk Bek. ^ 23 " Time's noblest orfspringis her last," said the good Bishop Berk- eley years before, writing of America, and the best of America was in New England, in Massachusetts, and there in Boston where Emerson first saw the day and in the neighborhood of which he spent most of li's hfe. Descended from eight genera- tions of New En},dand preachers, he in himself most aptly il' • trated his own saying "that every man is a quotation from all uis ancestors." Tben he was brought up in a simple, frugal house- hold, under the careful guidance of a noble mother and of his aunt, Mary Emerson, a woman of great originality and intellectual Eower. They took him to church every Sundav, and there he eardthe great Channing preach; that itself alone must have been a liberal education. He grew up in the companionship of young men and women filled with spiritual enthusiasm. Finding the Unitarian ministry of that day under restrictions too many for him, he resigned his charge, and rising to higher levels outside the pulpit he raised up with honor not only Unitarianism but all New England. And so he became a prophet hoi*ured in his own country and revered throughout the whole world. 11. EXPLANATORY. ra. Fine humble-bee/ etc.— Some editions have "Burly, dozing humble bee." Note the force of these epithets and contrast with the vague superlative " fine." Humble-bee.— Commonlv called bumble-bee in Ontario. This latter is not a provincial vulgarism, a corruption of '* humble " as some suppose. Both are standard English words, used " indif- ferently " says Skeat. Bumble is a frequentative of boom, hum- ble of hum ; the ^ in both cafes is excrescent, having no meaning. Let them sail. — Who ? Porto Rique. — Porto Rico is an island of the West Indies, lying West of Hayti. The poet means, however, places such as Porto Rico, i.e. tropical lands. Compare further on ** In- dian " and " Syrian." Note that the use of the particular and concrete for the general and abstract gives picturesqueness and force. Far-off heats... through seas. — Would a writer now ordinarily speak of Porto Rico as far off? Why ? What seas are meant ? Follow thee alone. — T' 3 means that (in contrast to others who seek pleasure in far-off seas, the poet is content to stay at home, (since the bee has come) finding his - c in watching the bee. Animated torrid zone. — A charac iimersonian express- ion. To get the meaning fully look at ex'^.cssions to somewhat the same effect fiirthpr <->n in tViA Tinom * <> «« i^-,rx». «r ii^a ciin " " voyager of light and noon," " epicurean of June." and the whole 24 English Literature. staiij^a ..'j.Mnning «'H.t niicisunimer's petted cn.no •• Tho b.nnhle.hee lo.ea the s.ui and in the greatest heat o s ummeT ? 18 most active and conspicuoas. Moreovertho rank hix.nanceo our Wild flowers mk foliage then shows onr co,uit?y a i s nea^^^^^^^ approach to tropical con.litions. Anotlier bond in this comolel association may be the rich, bright color of tho bumble bee ^ ^'gzag. - A felicitous term to describe tlie flight of the bee ,oc : T" '^- 7 ^^^ ^''n* evidently credits the bee with taking a z'w z^g route intentionally. To most observers it seems to eo bh n Mu|.. ancTthe image o/"a'^^,^o^.|rd farVhlrt^rknTlo ^s c^>Th^ bee as progressing by tacking like sailors in a head wilul ^^J^:noJ:A:.^!^' -erely an uninhabited place? Se. Chase. — Follow eagerly. Keep me ncaycr.—Keep me closer to thoc. Me thy hearer.— Observe the subtle casual forco of th.'o phraso=:because I wish to listen to thee. of this Singing wjV^s. —Forcible thoujrh unconnprfnri ;„ ., matical sense Understand '« thou who rr^shSn^-'et? ^h""' cauthehumofthewingsbecalledsingin'? " ^' ^''' "°^ suggSt:/^ti::-42^'^.e';^:::^^'^- - ^'^ -^^ ''tents,. value'h^'rer'^^^' """'^ '"''"' redundant and of no poetical Lover of the sun.- See the note on " torrid ;'nnp " Ti.^ i We bee .s quite sluggi.h ia eool weather;tSrc:ty"^fl,i„JIC?i;i which is therefore c\.td i/s^. -^^^'^^^7^:^ ^^^ Waves of air.— Expand the comparison summer mSnths ' '^^'"*^ pleasure-seeker of the ,.,.,!^y^ ./'/"w.-Note a similar idea in the first stanza OK The Humble Bee. this Prithee. — Note that " prithi c " is a contrac )n of " pray thee." All rc'itlwul Martynlom. — This exaj;,?eration strikes some minds as a defect. Is " without " in contrast to '• within " or is it eqi valeiit to " unless thou dost wait ? " Net of shining haze. —Other poets have usei "veil" nnd " lace " in such descriptions. The haze brought np by the south wind being thin and the sun shining on it and through it produces the effect described in *• shining " and •• silver." With 5o//M«s.— Touching all things so that they lose the rigor and severity of '• hard " winter. Tints color of rom^ince. — Gives to the human face a fresh ideal beauty. One meaning of romance is the description of beauties beyond the actual or at least bej^ond the usual. Infusing violets. The most striking description, as it seems to me, in any poem of the fact and miracle '^ spiing. GreeK s//e«ff.— Novel, but not too much so to be poetic. Notice that many terms are used indifferently in relation to im- pressions on the eye or ear. We speak of colors as •* quiet " or "loud"; we use *' tone," "harmony" and "discord" for both colors and sounds. Petted crone. — The word '* crone" means literally 'old woman,' but here • darling.' It has no connection with crooning, as it is derived from a word akin to the Irish crion, withered. Telling, etc.— liote the connection in idea with •'torrid zone," and elsewhere. Gulfs in Indian wildernesses. — We think of India as abounding in all riches. Compare Milton, ' ' the wealth of Ormuz and of Ind " ; and the common expressions, the wealth of the Indies, and ♦* Nabob " for a rich man. Syrian peace.— The people of the east take life leisurely, terhaps a special reference is implied here to the siesta, or mid- day slumber. Bumble-bees often sit dozing on flowers. Bird-like pleasure. — The pleasure of freedom, to roam through the air. Birds are often used by the poets as types of complete happiness in freedom. My insect.—'^ My " a term of intimate acquaintance and af- fection ; compare " my little man " in " The Barefoot-Boy." Bilberry bells. — The bilberry is another name for the wortle- berry, a class of plants with bell-shaped flowers and edible fruit. The common huckle-berry belongs to the family, and in Eng- land is popularly called bilberry. Catchfly. — A name applied to certain plants that have a gummy or hairy surface, which enables them to hold insects that alight on them. 26 English Literature. snake's'tngtr"-^ ^"^' °' f-" -"' ^ spike forte., liUe a All raas picture, — i.e beanfifnl \\7\ -, t- ^ presence of ^defect or evflTn he unSs ^^^''^ ^^ ^^"^^^ ^he too, has Its own purpose and its ownTeautv "''^°°^" ^^^^^e, exercisMig its choice but more fort nn.f^'- !k '^^'^'' *^^" >^e i, nature. It can make lighTof wan ^nd '" ^ ^^^dition. of its reach it. It escapes troubL whill "f °^ 'T^^^^ ^^^y ^o not ha the bee falls asleep Cpoedv to / ^^^i. ^^^ ^^ represent ot IS so ordered fortu^nJtd^ fo i'i ^i^k.^ ^^1"^'^?%^'^ that its this sleeping through trouble a part of til •'"^""^ • ^^^^ ^s- ^"^ the foregoing lines ? ^ " °* ^^^ wisdom mentioned in * ing s^^^^Tfr^l"-/- '^'^^ ^-^--E. refers to the far-reach- GENERAL REMARKS ANT> SUGGESTIONS. in the pler^it^Us lit fin a ^^^^^^ -t every word of the^eacher to le^rn/L Vr Ts t,'ra^^^^^ ^^elZ^ word was soused. Herein; pn^^ Practicable, just why that quaUties that give poetrvX^^^;^:^^^^^^ ^° the' also should be analyzed. '^'^^* Simple simihtudes are g"r^^^^^^^^^^ ^ince young people alhtera ion, poems taken up n clTss n-v ^M'^^'/'hyme and the subject of lessons in the Simpler ma?^^^^^ be made fication It is a good plan for tl^fJ'^'l^'"'"^ to versi- several lines, the p,tpils keep^nl coun?nf H'^'' *° ^^^^ ^^^^ to Names of rhythms and metreL need n^f *^t^^^ts, not of the feet. enough that the facts be observed 1^ ' ^? f introduced, it is It does not seem trnv tf/r wu '"^'''"^^^^^^^sed. drawn up before o? after the worTlh'^"' ^ P'^" ^^ *h« Poem be do the most of this M^rk^cou/sT'ln^ P"pilsshoukl advantage to commit the plan to m "^^^t cases it Js an poem ; it will be an aid to the mem or v 7^7' ''".'?^ ^^^^ the will also serve in a general way Ts a mo ll f "^' ^^^ P°^"^ ^nd work. ^ ay as a model for outlining essay Whether the biooranhTr r^f +i after the poem will ^^^'J^^oirSZL' ''\'^ "P ^^^-^ - he pupil. From the easy to th^d ifficult . T,?' V" '^ *° ^"terest the teacher. ^ ^ aimcult is the best rr^ir-o^ f„- A. S. a TIS THE LAST ROSE OF SUMMER. BY THOMAS MOORE. THOMAS MOORE. INTRODUCTORY. I'^c'^ ''^^Tu^^ that the teacher, before he refers to this poem, CO should talk with his class upon the theme of the poem itsel? so that they mav thorou^hlv annreciate t^« off,v.,j/i -' -»-- - towards " the last rose," and to^^ards human lifer^Hrwould^ do 27 28 English Literature. well to question then as to the effect of Autumn on Nature noticing the influence of that season not only on the fields aid woods but also on the gardens, and especially on the flowers IhnZhfui'V''^^^ the supposition that flowers have feeling and thought like human beings, and ask his pupils what thoughts the fevy surviving flowers would have when they saw their fellow flowers oJce'thoueht^haf '"^^^ ''ri^ J^'' ^^^^ that xiomTs M^ore once thought that a rose, which he saw blooming when all her ?orTsTn Tp.:r-' ^°"'' '\^ ^"^ *^°"S^^^' -^-h il has expressed or us in a certain poem about to be given them for study End !^L rrlr"^ '^ ,^"."^^" ^^^ ^^« its A»tumn, if any human lives are like the rose, living on, sad and lonely, old friends and com pamons having gone to that distant counSy whence no travXr ran.?of1hf ^IZIT^^^ *^" '"^J""* "\^""^' ^^ ^^e poem within the ran^e ot the pupi s own experience, and excited his curiosity about assi^nTt ^Jr'-**'" 'T.^^' '""^y ^^"^ t^^ P°^"^ t° his class! and assign It, all or in part, for memorization. The next lessons should he devoted to an examination of thp ANALYTICAL TREATMENT. In the teach er's talks with his class over the poem some (dTwI T'^'T '"'^.r ^^"°^^ "i" he found advantageous - (1.) I. What or whom is the poet addressing ? 2 Does he treat the answer \ ^Wh"" "".f " 'T'^ «""^^ ^ ^^^^ reasons for your answer. 3. Where is the poet as ae addresses the rose ? 4. Describe earden'Jn fT""^ ^""^ ^^IT'' ^''^ ^ ^^"^Pl^ description o a garden m late summer, with flowers faded and leaves withered lying scattered upon the ground, etc. , and only one solitLy rosefefi hi^r^Tp^rrP?" ^^' '*""'• 5- In what state does the rose find herself ? [A clear comceptton of "no flower of her kindred "is here ?ose7r n"''fl " n^eans, no flower of the same family as the rose, j.^ no other rose, not even a rosebud, is near! 6 What color IS the rose ? What does its color suggest to the poet ? [The coior of the red rose leads him to think of its power of feel ng and "Jelt^'h'^rrl,°^^*^'^^°'^"^*^^* "^^^^^ sympathfie witTfxl - reflect back Its blushes."] 7. What thoughts come to the rose as she realizes her position ? (II.) i. What does the poet do when melfr *^' ^^"^hness of the rose ? 2. What does " ^rne " m^an ? ^bloorS'hl?"' ^ M^i?' ^''l!'^''-^ 3- ^f he had left the flowed to bloom what would have happened to it ? 4. What thought LTP.ro''T'\^.''"'^°^*^t^"^^^ 5. What d'oe^he do as he says, "Go sleep thou with them " .? 6. What does he mean bv sleeping " and " sleep " ? 7. Whv «' UnHl- " ? e M^ruZ u u f " ,, -^ referred to ? ^9. Who are the " mates "of The garden "? [Relr to Tis THE Last Rose of Summer. 39 the "lOvely companions," "flowers of her kindred."] .• 1 It was at Landport,inPortsea, Hampshirt!, that Dickens was born, on February 7, 18x2. His easy-going father— the origmal of the celebrated " Micawber " of '• David Copperheld "—was unable to give his family a proper school eilucation, and the boy had to depend upon what happily proved to be in his case a better though severer teacher than any of the schools, accident. As a man Dickens speaks with great bitteriiess of his early lite, and of the neglect t>r earelessness which sent the weakly, sensitive child to earn his few shillings a week in a blacking warehouse— cover- ing the blacking pots with paper. A little schoohng, however, was afterwards gained, and at fifteen Charles became a clerk in an attornev's oiVice. At nineteen he undertook parliamentary reporting, a work for which he had been fitting himself by inde- pendent" study for some time. From reportorial he naturally passedto original composition, beginning to write sketches for a magazine. These " Sketches bv Hoz " were followed by the •' Pickwick Papers." which laid the foundation of his fame. At the same time " Oliver Twist," a story dealing with the worst aspects of Knglish life, was being published. Dickens was especially good in describing scenes in low life. A villain or a hero he could paint with equal and inimitable skill, provided the said villain and hero belonged to the lower or middle classes. A gentlemen he could not describe with anything approaching the same power. His ,ext work " Nicholas Nickleby," by exposing the orutaUty and ignorance which passed for discipline in Eng- IJoK e,^i,..,.U ^v:,s n onblic benefit. In 1840 he commenced -Master Humphrey's Clock," intended to comprise different tales under one general title. The first of these, "The Old The Death of Lutle Nkll. 37 -ll'a little the sifiht low they iuul h:i(i :ril)c the I her, the fter they called up rms alike ! name of but not a k among ken read- Papers " tn by any "kens was >riginalof as unable oy had to a better nt. As a ife, and of itive child ;e — cover- however, a clerk in amentary f by inde- naturally ches for a !d by the fame. At the worst ;kens was illain or a )vided the lasses. A achinj; the ^ exposing lie in Eng- inimenced ; different '*The Old Curiosity Shop," i«? one of the noblest of his works. The second of the sericK was " Harnal)y Kudge." The author was now a celebrity whom all men delighted to honor. In 1841 he made a tour in the Highlands, and next yc.-ar visited America. As a result of this visit, he pulislied " Ameriran Notes for General Circulation," in which, to the disappointment of the Americans who had treated him right royally, lie s(!vcrely criticized the social and moral life of the young republic. ♦' Martin Chuzxle- witt," published in 184J, was partly a result of this visit. Con- stantly in search of new material, ho visited Italy, Switzerland and France. Jn IVS48 appeared " Dombey and Son," and .. 1850 •| David Coppcriield," in which he has given us more of hi- owr life and experience than elsewhere. ♦♦ Hard Times," '• ' .ttle Don-it, a Tale of Two Cities," " Great Expectations," and •Mutual Friend," appearing in quick succession, attested to ci.o author's industry. Then, in spite of the protests of friends who warned him that it would be degrading to his dignity, he drew nearer to his readers by giving public readings from his books, in England, Ireland, Scotland, and America. But he was living at too high a pressure, and while engaged in another novel, "The Mystery of Edwin Drood," which gave promise of being one of his very best, he was struck down by apoplexy, and died on June 9, 1870. A place among the lumored dead of Westminster Abbey v/as deemed the right of one who, through the effective medium of fiction, had been not the least of England's instruc- tors and reformers. N. S. THE BELL OF ATRL BY LONGFELLOW. HENRY WADSWORTH LONGFELLOW. I.— INTRODUCTORY. map of Massach.i«;pff= f^l R ^ , * ,T"^" ^^t them see a impoT?anc'e'"''Th''e'S ^^^'I'M^g^. Sudbury and Atri, are of 3^ The Bell of Atrl 39 ly for see a Cam- re of scond I, the The poet pictures iho Hnct ., c*.,,i ^» *»'^s "i ci waysiue Inn." Thee loLMan -i PnoV nn 1 'm ^^*" '^"t. a young Sicilian, a Jew, a ••Then down the road, with mud besprenf And drenched with rain from head to hoof, The rain-drops dripping from his mane ^ncl tail as from a pent-house roof, A jaded horse, his head down bent, l^assed slowly, limping as he went " * * * * Alas for human greed. That with cold hand and stony eye Thus turns an old friend out to die, Or beg his food from gate to gate I This brings a tale into my mind, Which, If you are not disinclined 1 o listen, I will now relate." n. — EXPLANATORY. Abruzzo (a broo' tsd) On^nffK^^; • • bounaea „ tie west ^^ ^^^^^^S^l^^^^^^^ (.«»,1:ilh ••^Slustcer^'''^'''^- ^"^ ^"'■^ -^ "riginally Greek the rop7'''~°"' °' ""^ P^^'= ""ich, twisted together, make up Bri'ony, or brvonv — 4 n'i'd ,lii-i • resembUng ivy. " ' ^^ chmbing vine, with leaves 40 English Literature. I: v.r.J^h'\ ^^/^l«f-It ^vas, and still is, customary to hang rffectk>n ' Vnf "°f ' '""^ *.°"^^^ ^^ "^^^'^^ «f reverence and ?ow to Ln. . Vk "^^^"\" given by vow." -arsons would for snec al fiprtf f ? "P°? *^^ l^""^ °^ ^ ^^^^^^^ ^^^^^ i" return - vow '"" vo fv. ' T' ^?J" *^^ '^^"*- (Note that " devote," vow, votive," are fr m the name Lat. root voveo, I vow ) ment oM'h;""nnh1rr'^""".^ *,^^ ^^[^^^^ Ages, a favorite amuse- Slcons tt.fn^H ^ '*^ "^^^ *^ '^^^P ^^^^'^^' o^ "^ore accurately, he na;^^^^^^^^^ ^^e wing, birds such a^s reaengo in the "Tales of a Wayside Inn.") To keen the Ire cohered for'^i^,"^^^' T'^'^ ^-/--ied abit,\°heirLaSs are covered for the time by a close leather hood to shut out the How to...spare.~How to effect a saving, how to economize. Provender.-Food for beasts, such as hay, straw, oats. skirtfofThe'citv "7l";.^^"^' V^^ ^"^"^^^' ^- '' ^^ ^^^ °"t. bKins or tne city. (Lat. suh, under, near, urhs, city.) towerfS'to^f^'^ ^^-^arf^.-In the light framework of the bell- Ihrbell. '°°^""'*"^ "P°" ^^^hes, in the middle of which hung Lord^God'^^fV'^'' ^»^« ^^rf.-'o^.-From the \.zX. dominus, deus, i-ora, (jod— a common Italian oath. To heathen gods.-Tho influence of the religion of Rome is stiU seen in many expressions, e-.^." by Jove." ^ome is i^aw^. z^^frfs.— Fame arises from the knowledge men hav«- H<: ff7w speaks...door.—The faithful servant who talks not nf wKsietlu^'doTrs' •thT"^ °' ''"'' "^^'"™' than "hose WHO oesiege our doors with clamorous appeals lor aid the Srs?ppi?™rbL^^^^^^^^ "^^^'^^^^ ^^"^^^' - -^-^ C//m.. -Poetical form of climate, here meaning land, state. h.ihJ't"'"''V^''^'''''.'-^^^ brute creation is not recognized tjL of r' ^' ^r'""? "S^*^- There is indeed a partial recoeni anTmafs. '" "^^'^ " ''" ^""^ ^^^ ^^e prevention of crueltrto III.— QUESTIONS AND EXERCISES. U laid ^H.?!?-^ ''"t^^ *^^ *°^" ^" ^hi^h the scene of the story 1^ laid, including what yon are told of its geujraphical posfion^ out- The Bell of Atri. ^, its date, its history, and its situation. Make, as regards its situ ation, a comparison of the town with a person. -' of Atri. ^^''^^^*^^^''^''*' concerning the setting up of t -e Bell time'ifSory''' ^^P^^^^^ ^' '^^ ^ell and belfry at the _ 5- Tell how the horse called for justice inclndin*r {n\ o a cnption of the Italian town at hot nc^^TdV, (i) th^^^ the bell and its effect, (c) the syndic's disturbance fj^^the appearance of the steed tugging at the bell-rope. ' ^ ^ ^ 6. Describe the scene that ensued— the gathering crowd th^ syndic's interrogation of the knight, the knight's contemnt of ^ and humanity, the magistrate's judgment; ^°n^^"^Pt of law 7. Tell how the news reached the Kino- aT,A „,\ « i," ment on the incidents. "ea,rne Kmg, and give his com- horL'V'r w1at"k-nTr^ °' "fe, andTjiif t^a ment oYhi liorse ? 5 What kind of man was the Syndic ? What i^ pmnl ing about his person ? What is noble in his character ? fi w the Knight right or wrong when he said 'he should r'n T^f pleased him with his own," ? and why ? 7. Wha??neanW h ^* the proverbs, " Pride eoeth " pfo or,^ <« t? ^^V^^.^^^^^ning have etc/as applied to actfons of me„' o? rank ''sulhU ^h'^r-^e"'" 8. Justify the King's exclanation " Rfcrht , n •? ,^® '^"'^ht ? 9. What'^iinesdoyluSlkebesfinthepilm?'^'" " P'""'""* "''" IV. — BIOGRAPHICAL. poets"r„? Jhter„Xt°a^ two S'^=' 1 American the present age, wasLrni^lortla'd Matafin^X^^SS'^? °J after long years of haDninptsQ hr,r.r.rl ^^"^' ^" ^^^7, and died, anode of Horace won him tr^„-r-r^'''^Se m translating Languages in B^'oZ" C^e Phrrhetft^rff"//'' ^'""" professor in the same deDartrnmit in h j J?"*,,*" become bridge. The professor was a Doet ^t L^'l""''^ ^°"«S'=' Cam- he had publish'ed versesTthe'^^oU' Wr' o? mf 4,-* ">'[''=" ofpoems,rv„i,-;;rth^;Sirht:^Vire„^c"e^rev'e'?y«?^™^^^^^ 42 English Literature. a volume came from his pen, sometimes a novel like " Hyperion," sometimes a drama like the "Spanish Student," sometimes lyrical poems such as •• Seaside and Fireside," or stories in verse such as •' The Tales of a Wayside Inn," sometimes translations of foreign poems even, — the great Italian epic of " The Divine Comedy " of Dante. The subjects of his work he drew from all literatures, for he had gained great knowledge of the languages of Europe by frequent and long visits to the old land. Yet he did not neglect home subjects. The old legends of Indian life were transformed into the wonderful story of " Hiawatha " ; the expatriation of the Acadians from Nova Scotia gave rise to the pathetic and beau- tiful idyl of " Evangeline" ; the story of his own ancestors among the Pilgrim Fathers of Massachusetts afforded the materials for " Miles Standish." Longfellow's name is a household word, which tells us at once the nature of his genius, and the extent of his influence. His work is neither very powerful nor very original. He has contrrouted very little to the real thought of the world. But no poet has embodied to such an extent, or in as graceful form as Longfellow, the domestic affections, the simple, tender feelings of humanity. Children will never tire of " The Wreck of the Hesperus"; bereaved parents ot "Resignation"; while "The Psalm of Life " will long continue to be a trumpet-call to young America to earnest high-minded activity. For his skill as a story- teller Longfellow deserves a place among our great masters. Chaucer, Leigh Hunt, Morris and Tennyson are alone worthy of comparison with him. Simple, loveable, pure in character, Longfellow has imprinted his own character on his work, and fame will surely crown " Evangeline," " Hiawatha," and his best lyrics with unfading laurel. F. H. s. MAKING MAPLE SUGAR. BY C. D. WARNER I. NOTES AND SUGGESTIONS. Enjoys mo^c.— What other parts of farming do boys enjoy ? Blackberrying... fishing. A droll assumption that these are a part otfarmtng. The most of it.— After Tending, the whole lesson carefullv the pupil might be asked to make out from memory a list of the 43 ^1 i \ 44 English Literature. &nol'do7 '"' ^"^ '"°*^^' "-^^ °^*^^ °*h- «""&« -1-h he Picnicking Bein^ a jolly trip to the woods with provisions. ofthSSk/n Tri1;~^"'"^"^*°?^.^^^^^ and novelty fullofenfoyi.^^^^^ '"'^ a real shipwreck would appear r»i..-The hogsheads, mentioned farther on, for storing sap. corn n';:aT '"'"'^ ^-ai.-Bread made of rye-flour and Indian 5Kr^^6.^. —Observe the double meaning as ia?^^';^,-;h'rt?™iiro'd^/^^'"^^ °' "-'^ '- -« =">"<'«- '^ on ..s-a^f [^fhir- if ^„'- jt tptA^osr -r "^'T was the case bvhpi-ncr wA,.,!,? ■] "° ^^P ^s lost, as formerly the sap is''Se'^nr;;?iirdUrs„?" "^^ ^^°™''- ^°- *- intop4rt^.nfc;fdSfaLfor3o^^^^^^^^^^^ Mflj' improve the sugar.—Uow ? couI^7het';Lf n^Iar^^se'L^'^'^ *° "-"^ '^^ '>'= f^"" ^^ ,« ... "means tola watchful afa seSi ; to be' on th^T.ert Somethmg ..veins. A well known feelin" not caoable of mor» definite description than this " something-'and "a sort of '• excitis theto;'"-""'"-^ "l"^'"' f^-^- ^he spring feeling ^Wftg.—Show the force of this term '* 5fl/.'s runnin\''~A graphic touch. * 5"o«//i side. ..scalded.— The hot water and the heat of th^ ct, Sr/a^ar^tre! """ '"■''' '^'■^™ ^^"^^^ ^n If ".IckTs r» make a road.-To break down the snow evenly so that Making Maple Sugar. 45 Of when the load of buckets goes out there will be no troublesome upsets. Campaign. — Show the connection with the usual meaning of this term. Procession. — This word has a weakened sense in common American usage. Here it denotes first the oxen and sled, then the driver, usually walking, next the boy also walking, and lastly bringing up the rear the other two or three men referred to farther on in the Lesson. Into the woods. — Note the significance of " into " here. Spindling. — Young trees growing up close together in the shade of the deep woods are tall and slight with but a few short side branches. Their slimness is especially noticeable in the winter or spring when the limbs are leafless. Tivittering. — Note the force of this word as due to its onoma- topoetic origin. A good sap-run. — A steady flow of sap lasting two or three weeks. If the spring opens early with bright but cool sunny days, sharp frosty nights and a foot or two of snow in the woods the season will be a good one ordinarily. Establishment. — Used in a mildly humorous sense as is " pro- cession " above noted. Sap-yoke. — A small wooden frame slightly hollow to fit the shoulders and rest on them. Each end projects a few inches beyond the shoulder. Suspended from the end of the yoke are the large buckets used in collecting the sap from the smaller ones at the trees. To sugar ojf perpetually.— CompsLre this with his desire to have the sap run fast. Impatience for results is a characteristic of boyhood well observed here. " Wax.''— The condition when the syrup is almost sugar. The outside of his face. —l^ote the humor in "outside," an ordmary writer would have said " his face " simply. Stingy. Show that this word here has a wider meaning than usual. To watch the operations. —Distinguish "watch" here from " watcji in the next sentence. Which has the broader meaning and what exactly is the element of difference ? It is not usual to employ a word twice with different meanings in such close prox- imity as here except for humor. ^ A piece of pork.— A more common way is to suspend a small piece ot fat bacon, over the kettle at such a height that when the hot boilmg fluid rises and is about to overflow it touches the pork and melts a small portion off it. This overspreads the surface 46 English Literature. as an oily film breaking up the bubbles and moderating the sur- tace violence of the ebullition. Compare the quieting action of oil on ocean waves as recently demonstrated. Whittled smooth. — Why ? A perfect realization. -It satisfies his longing for the free, wild outdoor hfe associated with adventure. Li^e a bear.— Observe that to a boy a bear embodies all the danger from wild animals m the woods. The comparison is ludi- crous coming from the boy as he had never heard a bear pro- An excuse for a froU' "erhaps the custom of having an "excuse"isarelicof tr • ■ 'uritan repression which frowned on all sport except for ch. u. PariuK-bees, husking-bees and such other gatherings with one part work and three parts fun seem to have had their origin in Puritan New England. Little affectaiions of fright .—It wsls part of the sport for the youths to try to frighten the girls by going back into the woodi and making hideous sounds. -^ » & ^ ^c wuous th^ ^"' q/'«/«^>J' play. -Owing to the bright picturesqueness the general happiness, and^the beautiful novelty of it all. Practised in it.— Where is the drollery here ? ih.f^^^w' '^""^ ^!- "^^"J"^- ''^^ ^«--This seems contradictory to uVhZ', ft'"^' "mentioned just before. The explanation probTb y IS that the comma after "tree" is wrongly inserted, only one Ame. .an colloquialism meaning to give violent expression to one's feelings when excessively vexed or annoyed. OUTLINE OF THF oKETCH. Pleasure of sugai -making for boys; the old way; the new way ; the boy on the look-out for the sap season; home prepare thT'^Z ""?>."'?;'•/" th^-°°ds; tapping the trees; fi^t dn^up the camp, ^ the boiling; the syrup; the boy's sugar-makin/ watching the kettles ; nignt in tnc camp ; sugarinf-off? eatme the maple taffy ; the boy's trick on the dog. ^ ' ^ Maple SiTgln''^''^""^ ^'"'^ '^'''"^' ^" ^°"' °^" ^°^^« "Making II.— BIOGRAPHICAL SKETCH OF THE AUTHOR. Charles Dudley Warner was born in Plainfield Mass-chn setts, in the year 1829. He studied at HamiltorSlWe New york. and graduated from there at the age of twen^y^wo He then spent some time with surveyors on the Missouri frontier We next find him studying law in New York. He orac k?H hL Making Maple Sugar. 47 profession subsequently for four years in Chicago, after which he returned to the East and settled down as a journalist in Hart- ford, where he edited the Courant for many years. During recent years he has been in charge of the " Editor's Drawjr," the humorous department in Harper's Monthly. His most famous humorous book " My Summer in a Garden " first appeared in a series of sketckes in his Hartford journal, but has since run through many editions in book form. It was his first book. Since then he has published several others among which we may mention " Backlog Studies," "Being a Boy," " In the Wilder- ness," and a novel of great power entitled "A Little Journey in the World " It is an entirely serious story exposing the evil ways of railway magnates in the United States and the injustice which wealth inflicts there by controlling legislation. Mr. Warner has written various essays in favor of Prison Reform and the better management of Industrial Schools. He is also an energetic worker in the same cause. Mr. Warner's humor is dainty, delicious and pure. His writings have none of the coarseness and exaggeration which characterize much of the writing of Mark Twain and Bill Nye and which is sometimes confounded with humor. Nor '5 any of his merit based on the quaintnesses of dialect, or of broken Eng- lish or bad spelling. It is in the situation seen as he sees it, and then as he shows it to us, A. S. Egg and Snake Mound, — Ohio. THE MOUND BUILDERS. BY HIGGINSON. I. GENERAL REMARKS. 'T*0 one born in America nothing can possibly be of greater interest than these earth-mounds described in this extract. The handiwork of a people that has passed away is always inter- esting, even if we have full records of that people's history, but when we are able merely to speculate about the people, their modes of life, and the period of their existence, the interest is greatly deepened and grows at every vain attempt to form conclusions. Certainly these Mound-Builders have left little to aid us in forming opinions about them, save the Mounds themselves and their contents. The broad extent of country covered by them, the fertility of the districts in which they are most common, the greatness of their size, and the evident plan and symmetry, unite to cause curiosity and wonder. These mounds are easily divided into two classes, those defensive in character and those con- structed for religious purposes. Of these the first class is the most common. One of the largest of these fortifications is situ- ated on the Little Miami River in Ohio, and is in its circuit about four miles. The embankment is from ten to twenty feet high. When these encampments or forts are not near streams 48 The Mound Builders.^ 49 we find cisterns or reservoirs for containing water. The second class of mounds— the sacred— is often found inside the defensive work and is generally of some exact mathematical figure circu- lar, square, octagonal. One of tiie largest of these mounds is in the neighborhood of St. Louis and covers eight acres of ground In Wisconsin and Iowa the mounds representing men and animals are very common. A few of these are found in Ohio and that at Brush Creek, Adams County, described in this extract by Higginson, is a good example of the patience and intel- hgence of those who constructed them. "The embankment constituting the effigy is upward of five feet in height, by thi- ' v feet base at the centre of the body, diminishing somewhat toward the head aim the tail. The neck of the figure is stretched out and slightly curved." The deposits in the mounds and the extent of the mounds themselves make it certain that the people who erected them were both numerous and well advanced in civilization. There can be no doubt that they were an agricultural people, and that they were perhaps united under one system of government At any rate, the resemblance in the position and form of the mounds and the similarity of their contents, seem to indicate a certain homogeneousness of the builders. The age of these monuments of an extinct race may be inferred partly from the treep growing upon the works, and partly from the nature of the nver terraces upon which ^hey are built. ♦• None of these works occur on the lowest formeu of the terraces which mark the sub- sidence of the western streams and it follows that this terrace has been formed since the works were erected." Bv companng the condition of the human remains found in the mounds with that of the remains of the Ancient Britons, it will be found that most of these mounds must be at least 2,oio years ^i^ /'t"!lf ^^lu^ ^^'^^^^ "^"^h "^°^^- Whence these people came and whether they went we cannot say. Whether famine S^f kT!i''''J^® ^^"""i destroyed them in a body we know not, but they have passed away. II. FIRST STUDY. Object : To obtain a general knowledge of the extract. ic rL'I7}T'f'*^?''^ concise headings, showing that each paragraph IS related to the general subject of the extract. i' s p II. — Tell in your own words : tained ^""^ ^^^ ^'""^ "^^^^ *^® Mound-Builders lived is ascer- fh^^iL^^*^ "^^^ *^® purpose of the Mounds, and what reveals me purpose. 5° English Literature. (f) What we learn from the Mounds of the civilization of the builders. {d) Where they procured their copper. (e) In what regions the Mound-Huildcrs dwelt. (/) Why it is thought they were not the ancestors of the American Indians. (g) What theories are offered to account for their existence in America. (/f) The manner in which the Mounds are built. A Relic from the Mounds. III. SECOND STUDY. Object • To secure a more particular Knowledge. account of it). This contin6h..—VJhat continent ? . , , i „-r,« tn Tfc. Mnmmnth —What was this ? (An animal belonging to the^*a'™f =% asYhe E.ephant ; once very co.rnon.^mo^^ Xr^Urwere proc'uredrwhlch was so heavy that ten person. n of the i of the xistence ads were (Because sd by the lildren an onging to n in most ortions of he United d feet cov- was years rths of the en persoas The Mound Builders. ex fonnd great difficulty in transporting it ; Jt was of a dark-grav or tistles'^Th^''''^ "t^*^ ^ ^^^^^^^^ "«^^ ^"^' ^""^ black h^Tr^ ^n f h?ln J 7/r ^""".M^ measures, from the forepart of the skull h2bffnf> /^-^ mutilated tail, sixteen feet, four inches; the height to the top of the dorsal spines is nine feet, four inches • the length of the tusks along the curves is nine feet, six inches •') II.— Explain the meaning of ♦« distinct," "certain." Qj/h'~"^v'^'''"^^u^°""*>'-'\ ^" ^^^* Pa^t of Ohio? (In the South, on he Ohio Kiver). -One thousand sixty feet long. Make a drawing that will represent the outline and the proportions of this " snake " mound. IV —Express in your own words the substance of this oar- agraph. - In a straight line." What purpose did such mounds probably serve ? Includes.-Is this a good word ? What word is more commonly used to express the same meaning ? ^ Qfny:7P'^"^r-^/'f'*'"'-~"^°*^^^ °" *^^ n^ap of the United States the extent of country over which the mounds are scat- tered. How many facts are you told in this paragraph ? " Purposes of worship." In what way is fire used in purposes of worship ? (In the offering up of sacrifices.) Purposes . y?;.— ^."t into your own words the meaning of ♦« advanced n civilization ■' - engmeerintr skill," "theocta-on," "theellipse " "standard of measurement." "iccuipbe, r.. '^"-^"^■^^^— Besides what ? (The facts stated in the preceding paragraph.) '"^ What is proved by the facts mentioned in this paragraph ? They had no domestic animals.~How do we know this ? ^Be- cause there are no representations of them.) tr.flT'''"'^ s^o«^5 -In these interior caverns are to be found treasures from all parts of the continent: "Articles ^n metal SI ver and native copper from Lake Superior, rn c, f^om he nril^ hi"'^f' '^^"l ^'°"^ *^^ G"^f of Mexico and obsTd an proyi"?"^^'"^ ^^«^rfA^ copper near Lake Superior.-How is this ^^ Jow nearly decayed.-Substitnte a more accurate word for 4.U ^^—P'' ^^""^ « older than the trees.—Prove this Exnlain the use of " sure," " of course," " mysterious " ^ — c oiiicr t-T.ampiua irum mis extract. 5» English Literature. Differed f^rcatly in habits. — From whom ? Skill and industry. — Distinguish between these things. Perhaps they cahe from Asia. — By what way? (The Aleutian Islands.) We only knoiv. — Improve the order of the words. Another race. — To what race is the reference ? W. H. II. WILLIA] Massj belonged tc descendant in Longfellc lived his ma acterized bj itian II. THE PRAIRIES. nv HRYANT. WILLIAM CULLEN BRYANT I. BIOGRAPHICAL SKETCH. in Longfelow-s^-MileiTandtr" "wThv' J-f » ™">ortalized lived his maternal ^ramwJ;, i, ^ '"^ ^^'^er and mother acteH--" K grandparents, who are said to havB h„.„ ,1,., acten„„ by some ot the sterner attributes of thePurlt^ns; '^The DO 54 Engtjsh Literature. effect of the atmosphere of the poet's home seems to have been very unK<'»iiil» though the fiarshness of liis grandparents was modified by the love and sympathy of his father, a man of warm heart and cultured tastes. It was his father, the poet says, who taught him the art of versification. As early as eleven years of age Bryant wrote some clever verses in imitation of the Latin poet Horace, and at eighteen he published Thanatopsis, a work of original genius, which won him well-deserved fame. For a few years the poet practiced law, but he found the work very uncongenial, and in 1825 gave it up and removed to New York, where he occupied himself wholly in literary pursuits. He con- tinued to write poetry, edited a newspaper, and wrote stories and magazine articles. The first collection of his verses had been published in 1821; in 183^, appeared a second volume of his poems, containing among others, "The Death of the Flowers" and •' The Prairies. " He continued to write poetry till his death in 1878, and the productions of his later years show no falling off in his poetic powers. "No distinguished man in America was better known by sight than Bryant." •• O good grey head that all men view " rose unbidden to one's Ups as he passed his fellow pedestrians in the streets of the great ci.y, active, alert, with a springing step and buoyant gait. He was seen in all weathers, walking down to his office in the morning, and back to his house in the afternoon— an observant anticpiity, with a majestic white beard, a pair of sharp eyes, and a face that, when observed closely, recalled the Hne of the poet : " A million wrinkles carved his skin." II. QUESTIONS AND EXERCISES. Questions intended to suggest the mode in which this lesson should be studied. 1. State in a sentence the topic of the poem. 2. Give the topic of each subdivision, and show how it is connected with the main theme. 3. What are the conditions of place, time and f'^eling under which the scene is supposed to be viewed ? 4. Bryant's poems may be divided into four main classes : (i) These dealing with subjects founded on the myths or history of Greece and Rome ; (2) descriptions of nature ; (3) poems treating of the progress of the human race ; and (4) those founded upon the history or traditions of the Indians of this continent. To which class does " The Prairies " in the main belong ? Show that it has elements connecting it with each of the foui classes. The Prairies. 55 o have been )arents was an of warm 3t says, who 'en years of if the Latin psis, a work line. For a 2 work very New York, ;s. He con- 3 stories and es had been >lume of his e Flowers" :ill his death w no faUing in America pedestrians a springing lers, walking house in the white beard, ved closely, h this lesson »w how it is 'deling under ain classes : hs or history ; (3) poems lose founded is continent. ong ? Show 1 c Give in your own words a short description of the scene the first and last sections call to your mind, endeavoring to realize tlic feelings of the poet and tne appearance of the various objects towards which he cuccessively turns his eyes. 6 What part of the description of the former inhabitants of the prairie lands seems to be a statement of facts, what is con- iectural with a foundation in fact, and what is purely fanciful ? Discuss the probabilities of the poet's fancies or conjectures. 7. Give other illustrations than those the poet brings for- ward of the fact that constant changes are going on in the " forms of being " on the earth. The teacher should use every means in his power to arouse the imaginations of his pupils as they study this poem. Pictures may be shown them, descriptions given, and comparisons made with things they know that serve to illustrate the poet s thoughts. III. EXPLANATORY NOTES. P. ii^i I ^. For which name.—The word prairie is French, signifying a meadow. Savanna, frequently used in the Southern States and in England, ;s a Spanish word. 1. 4. For the first.— For the first time. 1. 5. Dilated sight.—Eyes wide open in awe-struck admiration of the beauty of the scene. 1 6. Encircling vastness.-The first impression produced on one's mind by the sight of the prairies is that of their hmit- less extent. 1.7. Airy.—E2isy, gentle. 1. 8. Gentlest swell.— When there is no wind the waters of the ocean undulate in long low waves with little or no npple on their surface. This constitutes what sailors call the ground swell.' 1. II. Unchained.— In free motion. Cf. 11. 9 and 10. i. 11-15. The clouds ridges.— This effect may be seen on a small scale in any meadow or field of gram over which is cast the shadow of a passing cloud. 1. 13. Fluctuates.— Moves Uke a wave, the literal meaning of the word. (Lat. fluctus, a wave.) 1.14. Golden flowers.— On th« prairies in many places grow an abundance of small, brilUant flowers of the sun-flower family. I. 18. Moves not.— "Does not change his position. 1. 19. Prt^ms.-Branchless tropical trees bearing at their summits clusters of large leaves. The word is intended to suggest the luxuriant beauty of tropical vegetation. Ul 56 English Literature. 1. 20. Crisped.—Caused a ripple to pass over their surface. ^u ^- 21- ^ow»^»»» 0/ 5o»om.— In Sonora, a frontier state in ind Mro""^^ Mexico, rise the rivers Colorado, Yaqui, 1. 24. Par^— Share in its production, to be fimf'Txe'd"^' ~^^^ ^^^' ^ ^^^""^ *^^ ^*^^^ ^^^'^ supposed , y}'^^-^C^'''^\J'^''*'^'^\^iS''^'-'^^'''^^ applied to human u A *w J^^'-Tfi^^"'^^"'*"^^ °^ t^^ ^ork attributed to " The Hand that built the firmanent." 1. 27. /s/a»i g'>'oz;es. -Clusters of trees that appear like islands in the sea of herbage. ^^ «.nJ'''Thr'"'"if^i'f •••'^^•T'^^^ P°^* changes the compari- •^u The vault'of heaven is the roof of the temple, the prairies with their bright flowers the floor. « pi«iines "Evangelin^'''"'"' ^o«5^.//«^/ons.-See 1. 16. Cf. Longfellow's " Silently, one by one, in the infinite meadows of heaven. Blossomed the lovely stars, the forget-me-nots of the akgels." P. 152, \ 2. Nearer vault.— On the prairies, as upon the ocean, the sky seems to be nearer than in places where the view of the honzon is shut off by hills, etc. fh.^nwTf fi"'-T^° *^^ '''^^'" t. °^ *^^ ^^^^t ^^nt^al plains, the color of the sky is purer and brighter than in the comparal tively foggy climate of the Eastern States, where Bryant resided. 1. 4. Waste,~ci. desert, 1. i. 1. 5. Rank. — Growing luxuriantly. r^f/hJ* ^ '''''''^'Sious sound.-Distnrhing the solemn stillness 01 me scene. 1. 9. 0/ofA/f«^i._Cultured, civilized. ,1. 17. Pentelicus.--A mountain in Greece, whence was ob- tamed a very beautiful marble much used by the Greek sculp- 1. 19. The Parthenon,— a. magnificent temple on the Acro- ^nnn ?* ^/^ens, w.. buit of marble from the Pentelicus. buTnot upon that mountair. as the poet's words seem to imply. 1. 21-22. Hapiy ....yoke.— The poet thinks the bison fcom- MoSlfd Sunders. ^''^^^''^ ""^^ ^^^' ^^''^ domesticated iy tZ The Prairies. 57 here places 1. 22. Maned.^The fore-parts of the bison are covered with long, coarse hair. ,u^'^u/'^u'''''.^^^r^^^'-'^^^ ^°yot^. a cowardly animal of the wolf tribe, still frequently seen on the prairies. «n LEoP^^ff ""^^^ P""^'."® '^^S. as it is commonly called, an animal of the same species as the ground-hog or wood-chuck which It somewhat resembles, though it is much smaller in s^ze Sh?i^Jhf ^ '''''^ ''°T"'?" ^" *^® ^^ss fe^^le parts of the prairies', where they congregate m such numbers that a large extent of praine IS often covered with the mounds of earth they throw up m making their burrows, ^ .n/;.'c?il'^'7;-^.f'"'''''~^ repulsive bird allied to the hawk die^tf deld"n?mair'°^^^ °' ^'^ P^^^"^' ^^^^^"^ "^^ ^^^ 1.8 5e/«/cAm.— Usually places of burial where the bodies of the dead were lying. 1. 23, ^«tc*^ntn^.— Life-giving. 1. 29. Gave back. -Reflected. 1. 31. Issues. —The rivers that flow from them. 0>' i, . 58 English Literature. time wtrthf eShTaTtttoS'n' """^ T^""?'""^ "' ^ b^'ter emoyment. This imaginary nerfod w« n?" ^ u'"'''f'^'«n=e and the golden age. ^ ^ **^ ''*"«<' '/ the Romans 1. 16. ^^m«/«._Reminding him of home. are not settled. portions ot the praine states that 1. 24. Breaks my dream. Dicnplc Viic • • bacic to the realitii of the sceni'^bTforr him. '' ^""^ ''™«= "■" A. W. B. tn er cl an re di of a better ii and pro- stence and e Romans THE CAPTURE OF QUEBEC. BY GEORGE WARBURTON. n realized tates that rings him w. B. Wolfe, at an Early Age. I. BIOGRAPHICAL. "P HE biographical notice prefixed to this lesson in our Readers will be found sufficient. II. INTRODUCTORY. In the study of Literature the object of all biographical treatment is to explain and enforce the extract under consid- eration. The main biographical features to be laid before the class in this case are (i) the author's profession, that of a soldier, and his consequent fitness to write on military matters (2) his residence in Canada, where he lived in contact with the tra- ditions and records of the struggle he undertook to describe, 59 6o English Literature. and where he had opportunity to visit the scenes of the various events. IT C^w'^^i^r^^^^^® *"^^ "^^^'^^* indeed be given to the study of the hte of Wolfe and of Montcalm, the heroes of the war. Were it possible for the teacher to place Vol. II of Parkman's "Wolfe and Montcalm " in the hands of his pupils, a result would be a better understanding of the capture of the city, and very likely an increased desire to know more about the daring and the romance with which our early history is adorned and with which Parkman deals so graphically. ^ Any ordinary history will give an adequate account of the ongm of the war between England and France, and very little need be said to the class about the circumstances immediately precedmg the day of battle further than that there was jealousy between Montcalm and the French Governor Vaudreuil, each of whom considered himself the principal ruler, and each of whom would rather choose that disgrace should come upon the French cause than that he should yield to his opponent. This explains what at first sight appears a piece of hurried folly and foolish hurry on the part of Montcalm, in attacking the English with only a portion of the French power— the troops under the Governor, and the artillery in the city itself under General Ramesay, being absent. It may be well to explain ^o the class that Wolfe had, a few days before, by sending his fleet up the river, rendered it almost impossible for the French to obtain supplies, and that he had, by landing on the Plains of Abraham —so called from Abraham Marten, one of the first colonists— entirely shut off the French, who for some time had been put on short rations, from their base of supplies. The two generals form a strong contrast, and yet there was much in their history to win for them alike cur pity and our admiration. Montcalm struggling manfully against jealousy in Canada and in France, exemplifies a great patri- otism and courage, yet no greater than that of Wolfe, whose whole life had been a continuous strife with physical pain, and whose last days were rendered unpleasant by a forced confession that the reverse which had happened to the British arms, and which augured final defeat at Quebec, were the results of his own failure to grasp all the details of tliu situation. His brav- ery and his manliness are illustrated by his remarks to his »VlONTCALM. The Capture of Quebec. 6i physician shortly before the battle : " I know perfectly well you cannot cure me, but pray make me up so that I may be without pain for a few days, and able to do my duty ; that is all I want." II. OUTLINE OF METHOD OF CLASS STUDY. I. — To Secure a General Knoivledge. I.— Read the whole extract in the class. II.— Have each member of the class outline the incident in his own words. III.— Ask for headings for each paragraph. [The following will perhaps constitute an answer to this: (i) general introduc- tion, (2) the leaders, (3) the plan of attack, (4) the time and place when the plan was begun, (5) the landing of Wolfe, (6) the first troops to land, (7) The ascent begun, (8) the summit reached, (8), (9). (10) might properly form one paragraph with the title, "The manner of landing," (12) the success of Wolfe's plan, (13) ontcalm makes ready for battle, (14) the plan of the French attack, (15) the English plan of action, (16) the result, (17) Montcalm succeeds in rallying his men, (18) the charge of the English, (19), (20) Wolfe wounded, (21) rout of the French upon the woundmg of Montcalm, (22) Wolfe's condition, (23), (24) Wolfe's capacity for leadership shown in the hour of death, (25) the news in England, (26) the feeling in England, (27) the respect paid to Wolfe's body, (28) the great results of the conflict.] IV.— Group the paragraphs into the natural divisions of the extract, [{a) i, 2, 3; {b) 4, 5, 6 ; {c) 7, 8; (J) 9, 10, 11; {e) 12 to 24; (/)25 to 28]. v.— Contrast the conduct of Wolfe and Montcalm. VI.— What were the advantages and disadvantages of each general ? (Montcalm had the advantage of numbers, and Wolfe that of an experienced force.) VII.— How long was the result of the battle in doubt ? VIII.— Describe the nature of the cliff. IX.— Whether was Wolfe above or below the city when he entered the flat boats ? X.— At what time of the day and of the year did the conflict take place ? 2.~To Secure a More Particular Knowledge. If I.— What peculiar circumstances are referred to ? Distinguish "deep " and "peculiar"; " success" and "fail- ure " ; " broad " and " open ". Explain how "nearly line numbers" was true. Z J^— ^jf^^"g^^sh " fi^""ib' " and "hopefully " ; "chivalrous" and" heroic 62 English Literature Explain the meaning of " stronghold," "staked," "prospect," and "ideal." Why would not "mountain and forest, city and waters, valley and soUtude " be better than the order in the extract ? IT lU.—Left ban/c— Which ? Distinguish *' eminence," "precipice," " heights." Why were the plans all kept secret ? On either side. — Of what ? H IV. — First division. — Explain. Embarked. — From what place ? Why were the soldiers in high spirits ? What words in Gray's " Elegy " were especially appropriate to Wolfe ? (" The paths of glory lead but to the grave.") Young General. — How old. HIT V, Yl.— Light company.— Explain the meaning. Distinguish " path " and " track." Marched to and fro. — Why ? The tide. — Was the tide in or out ? ^ VII.— What showed the bravery of the Highlanders? (Their immediate action.) Qui vive.—Mea.mng and pronunciation : (See note on p. 44). Distinguish " sentry " and " sentinel." Explain " shouldered his musket and pursued his round." ^ VIII.— Explain "turned out"; "fired one volley"- " summoned to surrender " ; " intrenched posts." ' IfU IX and X. — Put the substance of these paragraphs into your own words. Who were Monckton and Murray ? (Wolfe's brigadier generals.) Why did the battalions form below ? (So that there would be less confusion when they reached the summit of the cliff. Wolfe's orders were very definite on this point.) H XL— What would be the effect if " sailed," " ran," "swift " "order," "rifle," "great," were substituted for "plied'" "swarmed, ""ready," "array," "gun," "incredible." ' H Xll.— Demonstrations of the fleet .—Whai were these ? (The evening before the attack Admiral Saunders, whose position was opposite and rather below Quebec, had, after a brief fusilade of artiljery and small arms, manned and landed his small boats as u to attack the French position in tliat quarter. The first was quite successful, as Montcalm had placed a large portion of The Capture of Quebec. 63 his forces to resist Saunders, thus affording Wolfe, who was above the city, a better opportunity to land. HIT XIII and XIV.— Explain " order of battle." (Arrange- ment of troops lor open battle.) What is meant by "fieli state,'' " skirmishers." Select suitable words with which to replace "murderous," ••incessant," "disabled." HIT XV and XVI. — They sustained the trial. — What trial is referred to ? Explain "parade," "closed up the gaps," '« shivering like pennons." IT XVII.— Parse " on ". Why is '♦ lost " followed by a note of exclamation? Distinguish "gallant" from "brave"; "ru- med " from " lost " ; " dismayed " from " terrified ": " dauntless " from "fearful." H XVIII.— Show that " majestic," "deadly," "majestic," pace " are suitable words. If XIX. — Again wounded. — How often was he wounded in all ? What words are emphatic in the first sentence ? in the last ? IT XXI. — Re-write in other words, " wavered under the 64 English Literature. carnage ' ; ''death had disordered " • .( » „^ .. >st and strongest men in he ba«aZ''*1{,K"'?'^\"P °f *''« of soldier are there in genera servW J >! l^*"*' """^ Shades airy, heavy and light; artiflery • engineers^')"^'"''^'' "«*" = '^"• sn,al7er''fyp!Tn?yi'^' l"!' ""^ P™"" -P-ately and in the Baltic^") ^" ^ " quotation from Campbell's " BatSe of mafn"-7"'- ^'"--What is its name ? (AcHmaxfremSi^r"" """" ^''°"' "^^ '^=' ^«»t«nce ? ^^^ T XXVIII.-. ..hat is the "momentous qnesdon- referred What effect has this battle had on Canadian afTairs ' To what does ■• it " in " it began ■• refer P QuebTc'?" "^= '"^ "^""^'> fl-g hoisted on the citadel of Anglo-Sa,,„ race.-To whom is the reference ? W. H. H. m had e the wreck of low a front of ade up of the t other grades y. light ; cav- irately and in I's " Battle of 1st sentence? ion" referred Fairs ? le citadel of W. H. H. WATERLOO. BY LORD BYRON. 17SS— 1824. LORD BYRON. GEORGE GORDON NOEL, FIFTH LOKD BYRON is the ivoetT^:LZTtttT''''''^^^^ ?^ ^^^ centur;.''Z' other land in Ms' wStwf ^ff/^^r-^n -"I"" >*^^^^* ^"-«'^"?^-^^ '«0'.~Napoleon had threatened to over- throw all ♦he kmgs of Europe. His defeat made their thrones wt»0 111 Cy • On^ui't7.^^^^^^u'^^• i^ rf ^^^c "^S^* ^^f°^^ the battle of Quatie Bras which preceded that of Waterloo, and the Duchess of Richmond had given a ball to the officers and their friends. Chivalry. — Brave warriors. Fo/«/)^«oMs.— Pleasing to the senses. Bdl. .knelL-^^oiice how the poet changes the thought from ftmerX'r' " "Carriage bell " to the -kneiP' of th^ Glou^ing hours -Why is the word "glowing" used? Ex pand the meaning in your own words. As if. .repeat.— The sound of distant thunder. Arm! arm!..roar.~What is it that makes this line expressive ? Note the climax (i. e. the inc?^asLg strenZ expression) in the last four lines. ^ 5>irengtn Windoived niche. — A bay-window. Brunswick's fated chief tain. -FTederick William, Duke so of of next T> . , •' : -v*^"*^"- — A icueiicK Willi Branswick, a noted officer in Wellington's army. Killed day at Quatre Bra " Fated " means, doomed to die Caught its tone.— Recognizes the sound of cannon f„l • ^'''^li' P^^f''^'<^ ear.-The poet here makes use of the fanci- ful Idea that those who are about to die have all their senses wonderfully quickened, and receive warning from the o?her ^•t^dWTSnM'"T'^r "mortally wounded at the battle of Auer- otadc (1806), where he commanded the Prussian army. gravfi!'''"^''"* of stretcher used for carrying the dead to their A'«^//.— Explain the common use of this word. Waterloo. 69 pirc IS com- loil " related f Waterloo," es " ; here it the ground all battles. ed to over- heir thrones he battle of the Duchess sir friends. lought from leil " of the used ? Ex- his line so strength of , Duke of Skilled next the fanci- leir senses the other e of Auer- id to their Choking sigh . .repeated—Explain the meaning. "co^:Z!:rfS^^^^^ between ..^utua.. and ge„efrbtd;-o7rroops' ' "^™'="' °' horso-soldiers. Here.'the Iffeluous.— Headlong. Alarming.~i. ,. Sounding the alarm ; calling to arms landS"""""'' ^"""""^ -^ "^'■^''"S of the Scottish High- chieff^ra'Hi/^lanTSr""" "^^""^""^ "' L^'-' -- ">" nameK.Sr^"'^"' '' """"= '°' S™"^"''' ^ Albion is a mor,S"g"stl'"'^*'-^'""P"^'' "-'^ ^^P'-^'"" *"h "ere the the fi^hr*'""^**^ '°""'' °^ ""= •'"SP'P^' "--Si-S 'he warriors to "mer?,-^tTh':°s'uU'il?rMn"l?i^'^?.' ''"«'=""^' ^'^ ="- '"at Instils. — Means "pours in." Evan^s, Donald's.-^ ames of the leaders in the clan. Ardennes. -A forest lying between Brussels and Waterloo. Dewy with nature's tear-drops. -Nature is hpanf,-f.,n,r . sented as weeping over the loss of Hfe so soon to oc!^r^^ "^''■ /«««»W/^,— Lacking the power of thought. L«s/y. —Strong, full of vigor. and foeieteTh^dla^- f-ed^-^,^^^^^^^^^^ condense 'hunS^dtVlVorSte^T^^^^^^^^^ => -™- A 'he sSg^'-oSTaTtJl-fl:!-!. '''""' "' "'^' '-^' -^V, and reveal in a "X':::!J'%^^!':rf<'^ "' !,"« burying of large nun,bers ^-_ o-^rti. i ^-nt niuuus •• packed closely." Blent — The more usual form is " blended." i m 70 English Literaturf III. QUESTIONS. 1. Give a historical explanation of the first line. Explain the emphasis of the word " stop ! " 2. Why was the victory said to be " king-mak'lng ? " 3. Explain fully the incident mentioned in the second stanza. 4. Write out a full paraphrase of the first three stanzas. 5. Who was Brunswick's chieftain ? Why "fated ? " Mean mg of «' death's prophetic ear ? » Explain the last four lines of the stanza. 6. Explain, in your own words, the preparations for the departure of the soldiers. ,7. Why does the poet mention the Scottish clan of the Camerons, in particular ? 8. Write down, so as to bring out the full meaning, the last five Imes of the seventh stanza. 9. Write out the eighth stanza in your own language, supplv- mg any parts of sentences which are not fully expressed in the poetry. j r 10. Mention the lines of the poem which you think the finest, Demg careful to give your reasons. _ II. Mention any rhetorical contrasts in the last stanza, ii-xplam any unusual forms of words, and give their usual forms and meanmgs. Explain the special appropriateness of the metaphor thunder clouds," beyond its merely figurative use. 13. Which is the finest stanza ? Why do you think so ? J. o. M. THE INFLUENCE OF BEAUTY. BY KEATS. JiHN Keats. I — SUGGESTIONS. T N teaching poetry there are three essentials : 1. To bring out the bare meaning. This is easy in narra- tive poetry ; it is more difficult in didactic poetry ; and it is most difficult in poetry of impression. To explain individual difficul- ties alone will not suffice. The meaning of the poem, as a whole, must be clearly brought out ; otherwise, the teaching will fail. 2. To show the true connection between the story or intended lesson or motive of the poem and its poetical dress: for example, the great pleasure felt in reading a story written in very beautiful language ; the musical sound of the words, and 7» 7a English LiiiiRATURE. their appropriateness to the ideas they are intended to convey ; and the musical arrangement of the words. The teacher can do this by reading the poem so as to bring out the rhythm and musical quality of the words and phrases, and then by making the pupils read it over many times with this object in view. 3. To inspire a real love of poetry. Try to make the pupils feel that poetry is for our enjoyment, and try to teach the poem so that they will enjoy it. Aim at arousing the imagination ; the object of teaching poetry is to educate that faculty. Try to bring out clearly what it is that is really fine about the poem. Keats is the poet of delight, and this extract fitly expresses his aim as a poet, and the central thought in all his writings. To feel delight in lite and in nature, and to give expression to it, and thus to bring delight to others — these were his aims. In one of his beautiful odes he says : " Beauty is truth, truth beauty, — that is all Ye know on earth, and all ye need to know." and in this poem, he begins with the famous line, " A thing of beauty is a joy for ever," The best way to begin the teaching of the lesson is to take the first line and unfold its full meaning before allowing another line to be read. The thought centres in the word joy. The poet would teach us to take a life-long delight in beautiful things. When this idea has been fully grasped, we are prepared to under- stand how he develops his thought, and forces its truth upon us, and, at last, how to take a real delight in the poetry itself. The teacher will find it advantageous in preparing the lesson to write out personally, a paraphrase of the extract, in order to become perfectly familiar with the peculiar force of each phrase, for the purpose of exposition. In teaching the lesson the meaning of words and phrases should be first explained, and then the teacher should paraphrase the passage orally. The pupils should then be required to make their own paraphrase, using the utmost care to obtain neat and accurate expression. II. — EXPLANATORY NOTES. The lines of the lesson are the opening lines of Keats' longest poem, Endymion (en-dim' -ion). Nothingness. — Non-existence. Even if it should perish, in fact it would still continue to exist in memory. Wreathing a flowery hand. — The poet teaches us that, by obtaining possession of beautiful sounds and sights and thoughts, we can form a chain which will hold us fast in love to the world we live in. The Influence of Beauty. 73 I Spite of. — Notwithstanding. See line ii. Inhuman. — Not human, i.e., in the highest sense. The scarcity of noble natures is contrary to God's intention, viz., that all human natures should be noble. The unhealthy and o'er -darkened ways. — The different employ- ments of life, all of which bring temptations to evil. Unhealthy, because the Ufa of the soul is injured by evil ; o'er-darkened, because evil brings sorrow. Made for our searching. — Appointed to test us. Pall. — A black cloth used in some countries to throw over a coffin. Here compared to the sorrows which overhang and darken the mind. Sprouting a shady boon. — Throwing out a leafy covering for the sheep, to shade them from the sun. Boon. — Literally means something asked for ; hence a benefit : here the blessing of shade, which the sheep seek, from the heat of the sun. Daffodils. — A common English plant growing in woods and meadows. It has bright yellow, bell-shaped flowers. Often mentioned by poets from love of the flower and its musical name. . . A cooling covert. —Note the poet's fancy in imaginmg the trickling water winding in and out, under shrubs and stones and overhanging banks, seeking, as it were, to keep the hot sun from stealing away its coolness. Brake —A kind of fern. Here a place in the woods over- grown with brakes, or brushwood and shrubs. Musk-rose. — A kind of '"ose, so called from its fragrance. Blooms. — Blossoms. Dooms.— An uncommon use of the word. It generally means judgment, or fate, or evil fortune, and has no plural form. Here it means the happy fates of the world's heroes, who, though dead, live forever in our memories. An endless fountain. The poet here changes the likeness of the *' shapes of beauty," from the " flowery band " to "an end- less fountain." Endless, unusual in this connection, means never-failing; and the poet's idea is that these "thmgs of beauty " he has mentioned, together with others which he leaves to the imagination, form a never-failing source of supply for those things which we can take possession of, in order to brmg happiness to our lives. Immortal drink.—The best meaning is : drink suited to immortal natures. This is in keeping with the poet's high ideal r _i.:„,i . :i +i,f> QT.'r''^"*- oloccir^pl allusion to the ui iiiiinkiiiu , ixiiu. inC i^ViU- ... ^ — » — nectar or drink of the gods may be disregarded. i 74 English Literature. Essenccs.-An essence IS that which constitutes the particu- lar nature or reahty of a thing. The poet uses the word to enforce his behef that these " things of beauty " are as real as anything in hfe, even though they dwell in the imagLatfon atone and are not prosaic facts. They are not feeHnfs which pass away like a sweet taste in the mouth. They are real ; they^are part of hfe. To have the faculty of knowing and enjoying bJaut? So does the moon.— Note the grammatical irregularity. The two subjects are quite distinct. ^ The passion poesy.— The passion for writing poetry, and the passion for enjoying poetry. The passion is two-sided! Glories infinite. -The moon and poetry. The poet gives them as the highest examples of the things of beauty which are fJ.*^^ T'^^^V *^^ .°v"^' f o"^rete, representing the beautiful in ihfu'ht abstract, representing the beautiful in Haunt us.— Are so constantly with us. They always...us.— They become part of our live-, so that hte seems to us worth nothing without them. in. QUESTIONS AND EXERCISES. I Expand the line " a thing of beauty is a joy forever," so as to bring out fully what the poet means. 2. What is meant by " it will never pass into nothingness " ? K ^;-f Y?u^* does the poet say that the capacity for enjoying beautiful things will bring to us ? t- j j j^mg 4. Name in your own words the different things which the poet mentions as objects of beauty that we should learn to appreciate. 5; Separate the real objects of beauty mentioned by the poet irom those which exist only in the mind. 6. To what two things does he compare these objects ? 7. Explain fully: "essences," "grandeur of the dooms," immortal drink," " glories infinite," " whether there be shine, ir gloom oercast," "sprouting a shady boon," "some shape of beauty moves away the pall," "spite of despondence," 'inhuman dearth ot noble natures," "the unhealthy and o er-darkened ways made for our searching." 8. Write out the full meaning of the passage in as few words as possible. 9. Write an extended parai'hrarie of the passage. The Influence of Beauty. 75 10. Mention as many objects as you can, not given in the poem, which you think likely to give lasting enjoyment, keeping the real objects distinct from those which exist in thought alone. IV. — BIOGRAPHICAL NOTE — JOHN KEATS (1795-1820). The poet Keats was oorn in London, October 29, 1795. He was of humble origin, his father, Thomas Keats, being the head assistant of a Mr. Jenniigs, who kept large livery stables in Moorfields ; his mother was Mr. Jennings' daughter. Little is known of the poet's boyhood, save his ungovernable temper. He was sent away to a school at Enfield when he was eight or nine. His father died in 1804, and six years later his mother died of consutnption. Keats then left school, and, with a fortune of $8,000, he L gan life as a medical student. He studied in a desultory fashion for hve or six years, but finally gave up surgery for literature. In 1818 the " Endymion " was published, and raised a storm of opposition from the critics, whose animosity wasdi -cted against Keats, partly on account of his intimacy with Leigh Hunt. Tiic unfavorable reception of his poems greatly embittpred his life, and discouraged him from accom- plishing as inucli as he might otherwise have done. He spent most of the next year in walking through the most picturesque parts of England and Scotland. But, towards the close of the year, the terrible consumption, which was so soon to end fatally, seized upon him ; and almost immediately destroyed the energy, and happiness of life, by reducing him to despair. In the middle of the next year, his physician advised him to try the climate of Italy as a last resource. He set out iu the company of the artist Severn, who gave up his opportunities of study in Rome, to care for the wants of his dying friend. Keats died in Rome, February 27, 1821. He was buried in the beautiful Protestant cemetery there, with the motto of his own choosing upon the tombstone, " Here lies one whose name was writ in water." Thus was extinguished foredoomed by inherited^ disease, at the early age of twenty-five, one of the brightest lives in the history of our literature. His writings gave promise, sadly unfulfilled, of the richest treasures of poetry. His principal works are " Hyperion," a fragment ; a very fine ballad, " La Belle Dame Sans Merci"; "Isabella, or the Pot of Basil"; "The Eve of St. Agnes " ; '* Lamia " ; a number of delightful sonnets, and five beautiful odes : " To Psyche ; To Autumn " ; " On Melan- choly"; "To a Nightingale"; and "On^a Grecian Urn." "Endymion," though Keat's longest poem, is not equal to his niaturer work. J. O. M. J MARMION AND DOUGLAS. BY SCOTT. SIR WALTER SCOTT. I. — INTRODUCTORY. ^ARMION, the nu.st powerful of Scott's poems, may be briefly outlined as follows :— It is " A Tale of Flodden Field." We are taken back, therefore, to the time of the trouble between James IV., of Scotland, and Henry VIII., of England. Marmiop is sent as Ambassador to Scotland to inquire the mean- ing of the seemingly warlike preparations that James is making. On his way he stops at Norham Castle, where he is provided with a guide,— a holy Palmer of strange appearance and char- acter. Arrived at luHnbiirgh, Marmion learns from Kin" James that he intends war. The courteous king gives him into the 76 Marmion and Douglas. 77 charge of one of his nobles, Douglas, Lord Apgus, and alsc? entrusts to them an abbess and licr train, who are returning to Whitby, Douglas hears, however, from the Palmer, to whom the abbess has revealed a lately -learned secret, a story of basest perfidy, in which Marmion is chief culprit. Marmion had lured a nun, Constance de Beverly, from her cloister to follow him in the guise of a page. Tiring of her, however, or, perhaps prompted by ambition to make another choice, he sought the hand of a wealthy heiress, Clara de Clare. Being opposed by a rival, De Wilton, he basely plotted his ruin, accusing him of treason, and having, through the aid of Constance—whose love for him led her to do anything he bade her— forged letters that seemed to prove his guilt. The judgment of Heaven \vas appealed to by a trial by combat, in which, however, Marmion came off victor. The strange Palmer proves to be De Wilton himself. Constance— who through Marmicn's falseness has been given back to the Church and has been condemned to be walled up alive— is the one who has revealed the story. The light thrown on the character of his guest robs Douglas of the power of treating him with more than the merest conventional courtesy. Hence the scene when Marmion is taking leave of his host. The after-story— how Marmion dies at Flodden, and De Wilton and Clara are wedded— should be told. It would be interesting, also to read to the pupils the account of the combat between Mar- mion and the Elfin knight (De Wilton alias the Palmer) on the evening of their stay at the inn, on their way to Edinburgh ; also that most dramatic scene in the whole story, the death of Constance. I. — EXPLANATORY NOTES. The textual difficulties will first demand attention. Line 3. Surrey.— The leader of the English forces at Flodden. 4 Safe-conduct.— An order protecting the bearer from interference ; given in this case by James IV. Royal seal and hand.— Important documents have the seal of the person signing them stamped or attached to them Then they are said to be given under one's hand and seal. Would.— Gi^es little more than sense past of past time. 8. Clara.— Clsiva. was a novice in the train of the abbess. Rather than wed Marmion, she had prepared to become a nun. Marmion had, on leaving the castle of Douglas, insisted on her accompanying him to Flodden. 8. Palfrey. — A saddle-horse especially for ladies. 9. Let the hawk stoop, the prey isflown.—See note to " Falcon " in "The Bell of Atri." Marmicn's crest or symbol was a falcon. The falcon, or hawk, is said to " stoop " when it darts down upon 78 English Literature. the bird it is attacking. Henre this very significant remark means tliat there is nothing to fear from Marmion, since De Wil- ton is on his way to Surrey's camp to proclaim his perfidy. II. Train... drew. — The retinue advanced. 13, Sflniilhinf;. . .plain. .. .'^ P\i\'yi\" for "complain." (Fr. se plaindre — to complain ) Tliough I might complain somewhat. 15. Uihcst. — Command. 16. Tantallon's towers. — See the description in Canto VI. of " Marmion." " I said, i'antallon's dizzy steep Hung o'er the margin of ihe deep Mar; a lude Ic-.-^r and rampart ti ere Repelled the insult of the air, Which, when the tempest vex'jd the sky, Half breeze, half spray, came whistling by. Above the rest a turret square,' etc. "The ruins of the castle occupy a high rock projecting into the German Ocean, about two miles east of North Berv,ick. . . Tantallon was a principal castle of the Douglas family. "--Author's note. 17. Part we. — Note this form of command for "let us port." 21. AfaMor- -Properly " a place to dwell in." {hat manere, to dwell) like ' mansion." The word denotes not only a /loble- man's house, as here, but also his estate -or rather that pe t of his estate not let out to tenants. 21- Bower — Generally means "arbor," but here it has its original sense (Cf neighbor, a person who divells near) ; hence dwelling, abode. 22. Lts^s. - Archaic word for " pleases." 24. Unmeet. — Unfit. 24. Peer. — Literally, equal, (Lat. par, equal); but used of the twelve greatest noblemen of France, who were equal in rank, it came to mean also nobleman. (See 1, 36 ) 25. My castles. — i. e. by feudal tenure the king owned all lands, which he, in return for certain services, apporti ned to his nobility. 33. An. — Archaic word for " if." 35. The Douglas. -Note the form of the article to signify a noted name. (Cf 1. 54.) 41. Pitch of pride. — The " pitch " here — highest T-.oiut ; here where you are surrounded by all that makes you proudest — your estates, vassals, etc. 42. Hold. — Fastness — The place able to beheld or defended^ Cf. the " Hold of a Highland robber," in " Waverley." Marmion and Douglas. 79 pfpnrlpr?. 42. Vassals. — Those holding land from a "lord" and giving military service in return. Armed retainers were customary in Scjcland at this time, though not in England after Henry VII's reign. 43. Never look. — The vassals wait but their master's word or sign to attack. 51. Ashen. — i.e. \ ale (as ashesj. 53. To beard the linn. —To benrd is literally to take by the beard in anger or c.ntenpt; he'iCe it means to attack, set at Jefiance. These lines are proverbial to indicate audacious courage. 55. Unscathed.— 7):Qm ihe \ h sczXhe or sc2±h {skdth, skdth), to hum, injure; unhurt. 56. St. i'-rydeo/Bjthwell.—St Bridget, an Irish saint of the fif^h century, honored by a shrine in Bothwell, a fief of the Douglas. 57. Drawbridge.— A bru.^'e lowered and raised by chains ittached to levers projecting from the ^\ Jls. By means of it com- tmnication across the moat or ditch around a castle or town was facilitated while a permanent br 'dge wmld have been dani,ci0us. v^. Warder. — One wh'^ wards or guards; was simply a fteeper, or guard. 58. Portcullis. — A strong grating of timber or iron made to protect the entrance of a fortified place. The verti- cal bars were pointed with iron at the bottom for the purpose of striking into the ground when the grating was dropped, and of injuring whatever it might fall upon. 60. Rowt!:.— The little wheel of a spur, edged with sharp pomts. 64. Plume. — The tuft of feathers ornamenting hi helmet. 72. Gaunilei. — Steel glove, A common mode ol challenging an opponent was by throw g down a gauntlet w oh he was dared to pick up, 74. Fury's pace— i.e. his steed, which he in fury was urging in. 75. A royal mesrmger. — And therefore by his office inviolal '^. 77. A letter forged. — "Judge he de Wilton's fury burned ! F'T in his packet there was laid Letters that claimed disloyal aid." for Swart in Gueldres. 79. It liked me ill. — An archaic form •' it displeased me." 80. Clerky skill. — Skill as a scholar. The original sense of ui-cik Wiic ^ Suiiuiar. ncnce priests, wno were tn learned men of the middle ages, were called clerks, clergy, clencals, etc. So English Literaturf.. 8i. Saint Bothan. — A saint of Scott's invention. 82. Save Gawain. His son of Gawain became a bisliop, and was of course learned. 83. Mend. — Amend, cure. 84. The Douglas blood. — The family of Douglas was one of the most formidab.e of Scottish nobility. It often rivalled the king's family in power, indeed^ this very Douglas had opposed James III. The Stuarts of jcnglish history were of Douglas blood, through the second marriage of Margaret, wife of James I. of Scotland, with a Douglas. 86. Pity of him. — It is a pity that he is a false knight. 8g. His mandate. — His command, " Horse ! horse ! " etc. III. — QUESTIONS AND EXERCISES. The examination of the class should be based first on those details of the story necessary to understand the passage in hand. Who was Marmion ? Who, Surrey ? Who, Douglas ? Who, Clara ? (2.) What events had occurred to bring Marmion, Doug- las and Clara together 6n Tantallon ? [This may be followed by a few questions on the feudal castle, to make sure of an under- standing of the terms "draw-bridge," "portcullis," "bars de- scending," etc, and by a few also on the dress of the feudal knight, as to "rowels^" "plume," "gauntlet," etc.] The textual difficulties may then be dealt with, line by line. Care must be taken to examine fully the spirit of the piece and the motives which animate the actors. Almost every line in the extract throws light upon the characters of the persons described; hence careful questioning may be devoted to this part of the work. Looking only at Douglas, although Marmion should, in class work, also be discussed, what characteristics of the Scottish noble are evinced by the lines : (a) "The ancient earl., flown," (6) "But Douglas clasped," (c) "On the earl's cheek, .full," (d) " Horse ! horse !... tried ?" Excellent language lessons may be had in substituting modern English words for archaic and poetical words in the extractSi such as "morning day," "plain," "stranger guest," •' behest," the pupils being required of themselves to discover the words thai call for change, after the nature of the exercise has been clearly explained to them by examples. IV. BIOGRAPHICAL NOTES, The career of Sir Walter Scott is perhaps unparalleled in the annals of authorship. Of an old Border family, with just a drop of Highland biood in his veins, he was born in Edinburgh in August, 1771. At school and college he gave little promise of Marmion ani> Douglas. 8i brilliant talents, and was even duhbed the "Greek Blockhead," from his it^norance of that langnaKe. Following his father's example, he studied law and becau'.e an Advocate in 1792. A disappointment m love, of which he says some thirty years later, •' Broken-hearted for two years, my heart handsomely pieced a^ain, but the crack will remain till my dying day," was per- haps the strongest influence in turning him to literature. He appeared first as a poet. Gathering together old Border ballads, and adding others of his own, he published the collection under the title " Border Minstrelsy." This was followed by '* The Lay of the Last Minstrel," "Marmion," and "The Lady of the Lake," three poems which immortalized him. His other impor- tant poetical works arc "The Vision of Don Roderick, ""Rokeby " "The Lord of the Isles," "The Bridal of Triermain," and 'Harold the Dauntless," But Byron appeared on the poetical arena, and, as Scott (who was never inclined to overestimate his own powers), said, " bet " him. He turned to what proved to be the kind of work for which he was best fitted, the writing of prose romances. With that keen delight in mystification which was a part of his nature, he for a long time concealed from the public the fact that he was the author of the brilliant series of novels, " by the author of VVaverley," which electrified the whole literary world. Some of the best known and admired of these are " Waverley,'' " Ivanhoe," " The Talisman," " The Heart of Mid-Lothian," and " Kenilworth." A mass of review work, critical editions of Swift and Dryden, and a "Life of Napoleon,"' were also undertaken by this most laborious and most volumin- ous of authors. The story of his own life is as interesting as that of any of the characters of his imagination. He married in 1797 a lady of good French family, Charlotte Charpentier, and took a house in Castle Street, Edinburgh, and a cottage at Lasswade, a few miles away. In 1805 he entered into partnership with an early friend, a printer, James Ballantyne, and John Ballantyne, a pub- lisher. Having become Sheriff of Selkirkshire and a Clerk of Session, he was able to retire from the Bar. He had been living for some time at Ashestiel, within the old Ettrick forest, but, tempted by the magnificent pecimiary profits of his works, he began investing in land, and soon became the mastei of an estate, Abbotsforo, close to the river Tweed. A marvellous suc- cess attended him in everything. Fickle Fortune relaxed her rules in his favor. The most popular author of the day, the favorite alike of princes and peasants, his home life almost ideally happy, his lot seemed altogether enviable. But the year 1825 was marked by widespread commercial ruin; and by the failure in 1826 of _ his publisher. Constable, and of the printing company with which ho w^as connected, he found himself bank- rupt, with a debt of ;^i 17,000 to face. The character that had jij 82 English Literature. stood so well the test of unmixed prosperity now bore without flinching the blow of adversity. He set himself resolutely to work to write off this debt, and no truer heroism can be shown than that of the man of fifty, deprived by death of his wife and many of his dearest friends, his personal popularity dimmed by the indiscreet Toryism he displayed in the agitation preceding the great Reform Bill, his frame already broken by excessive labor and now diseased and shattered by repeated attacks of paralysis, working steadily on to the very end. " For the night Cometh " was the motto always in mind. At last when his power tailed him, he was advised to try the effects of travel, but, after a briet visit to Italy, he became impatient to see Abbotsford aeain He reached home in time to let the gentle ripple of his own loved Tweed lull him into the last long sleep. His " nieht " had come. ° A new generation has now arisen which seems scarcely dis- posed to give to Scott the boundless admiration of which he was the object in his own day. Yet his place in EngUsh literature will always be a high one, and some are still willing to acknow- ledge him the greatest and most original mind since Shakspeare Perhaps the highest eulogy that could be given him is that which he unconsciously gave himself a short time before he died " I am drawmg near to the close of my career; I am fast shuffling off the stage. I have been perhaps the most voluminous author ot the day ; and it ts a comfort to me to think that I have tried to unsettle no man's faith, to corrupt no man's principle, and • h bl in .T'""^" nothing which, on my death-bed, I should N. S. MERCY. BY SHAKESPEARE. The Bust of Chakespeare at Stratford-on-Avon. I. INTRODUCTORY. PUPILS should not be introdnceH fo ih;^ o i ^- m cannot do much for thcrr^o^i • \'J-^ ^""^^xt. fourth class pupis The words are so dMnn 7''"^*^"^ preparation of this selection. sometimes scfsubtlethaMhlf'^^^^ """'"^^' ^"^ the thought is bUDue that the teacher must necessarily giv'^ -i -reat 83 ' '^ 84 English Literature. deal of explanation. When the meaning of all the difficult words and phrases has been explained, a series of questions, such as those given below, should convey a clear idea of the meaning and the bearing of the various parts of the selection, and ought to beget a deep love for a piece of literature which embodies senti- ments so sublime. The lesson should be frequently reviewed ; and he will be a dull teacher, and they will be dull pupils, who cannot find in it new beauties every time it is studied anew. It should, of course, be committed to memory after the first reading. This selection is part of the speech addressed by Portia to Shylock on the «« noble quahty of mercy''^(See Reader, page 322). On learning that Antonio confesses the bond, Portia, seeing the apparent hopelessness of saving his life if Shylock persists in his demand for justice, exclaims, "Then must the Jew be merci- ful," Shylock, purposely misunderstanding her, retorts, " On what compulsion must I ? Tell me that." To this impudent and heartless question, Portia answers in the beautiful sentiments of this selection. but I II. EXPLANATORY. Line r. Qualtty.—AttnhuU',, or moral characteristic. O/.-^-This w^/fd does not here denote possession, opposition, as in the words, 'The city of Toronto. " Strained.— Vaed for the woid " constrained," rn« ;«ning '|forced," " compulsory." The meaning of the line is as foi.^/ws : " riiat moral characteristic which is known as mercy, acts fre*-iy not from constraint ." ^ I. 3. It is twice blessed.— I confess a two-fold blessing ; confer- ring a blessing on the giver as well as on the receiver. 1. 5. 'Tis mightiest in the mightiest. —Mercy is most mighty in the mightiest person, i.e., the more power a person has to inflict pain, the more he bows and subdues his heart by showintj mercy. ^ Becomes. — Is becoming to, adorns. I. 6. Throned.— The poet evidently has in his mind the picture of a king sitting upon his throne, dispensing justice, forgiving some and condemning others. That power within him, by virtue of which he forgives, is a greater ornament to him than that by virtue of which he condemns. ' 1. 7. Sceptre.— The staff borne by a monarch as a symbol of authority. Shows. — Represents, symbolizes. Temporal Power.— The same as •• sceptred sway," 1. 10, and " earthly power," 1. 13. IvIercy. 85 all Ihe'qilliue'foUhf tart^'Ts f &-" '^ t''^ """lest of subjects, so ^ercy . supSV tf all S oWeJ^Tl^Hl: ^„'/ ."j^: 1. 13. 5/100;.— Show itself, appear •' T\^tef^::^rZZSZ%r'''^''' ^'^ ^^^-^^ °^- Compare causJSpInTufti^'f "^ '^ ^'^ //--Though thou dost base thy liG<:i'J:^^^^::fJ:^^\^^^.^-fce had, its course. and should not show L^ercy ^" ^^^^^"^ ^^^^^ «»r «i"«. 1. 17. 5/w«W ^^..-Should be likely to obtain. 1. 18. Render.— Give in return. ni. QUESTIONS. By what character in the " Merrhanf r^(\T^^- ., lines c:nr>i/pn ? T^ u ivicFcnant ot Venice ' are these lines spoken ? To whom are thev addrpQQf^H ? wru,.*. xr "'^^^ they^.ntended to produce in hi. / ^^^tt^l/it "^^tL'^^Zl lines in their naturaTorff^ su^pty^fet word's'omltted "in "ill wS dt\' r^^r™"^, "'"" i-H:trfron1'hea"ve?P^' blessed?" "" ^"""""^ ''"P'^" "•= ■"""■''"g of "it is twice person who sTows n/erc/^^^ards fh emf Doe/'p 'T''f^^ *^^ or does she leave it to be inferred ? W?^In a \ ^°'*'^ ,*^" "'' '"ost resemble God's power ? ^'''^' temporal power justice'^^'^'^rat ^d^?;tf\'f h- ' ^r T'^"" '^^ "P- ^^ri^t ar^..m«n* 7"** aoes stj« ask him to do instead? Bv what ^r^yT^Zto^ltlti:^'''' ''^* itishisdutyTostw UDon rer.ivinTl*![?"11Jf„*l'* consequence if Shylock insisted 86 English Literature. What is meant by "that same prayer?" Quote the part of it in which" we do pray for mercy." [Is "do" emphatic in reading ?] Quote the part which " doth teach us all to render the deeds of mercy." Is the reference to the prayer likely to have any effect on Shylock, a Jew ? Why ? Go over the sentences, one by one, and tell what thought about mercy is contained in each. Are these lines written in prose or poetry ? Do they rhyme ? What name is given to that kind of verse which does not rhyme ? IV. BIOGRAPHICAL NOTE. William Shakespeare, the greatest poet that the world has ever produced, was born at Stratford-on-Avon, in Warwickshire, England, in the year 1564. His father, John Shakespeare, was a prosperous citizen of Stratford, who, at the time of Shakespeare's birth, was honored by his fellow citizens with several important offices of trust. Shakespeare was sent to the Grammar School of Stratford, where he received a rudimentary but not scholarly education. Ben Jonson has said of him that "he knew little Latin and less Greek " ; but he was one of those who are in after life self-educated, and must have been a student in the truest sense of the word. At about the age of fourteen, in consequence of a dechne in his father's fortune, he was taken from school, and set to earn in some way a living for himself. How he was employed at this period of his life is not known. When he was but nineteen years of age, he married Anne Hathaway, the daughter of a respectable yeoman, living a short distance from Stratford. She was eight years his senior; and whether the marriage proved a happy one or the reverse, is wholly unknown. He resided in Stratford for four or five years after his marriage, and then, Hke many another penniless lad whose name has ornamented EngUsh literature, decided to leave his native town and seek his freedom in London. From the very first he was connected with the theatre. He began with the most menial employments, but his ability soon made itself felt and raised him rapidly. He became an actor, then a writer of plays. Soon he was rapidly producing his historical plays and his early comedies, and began to accumulate a fortune, which he intended should enable him to return in due time to Stratford, and live there as a gentleman. In 1596 he became a principal shareholder of Black- friars Theatre, and, three years afterwards, of the Globe Theatre. On the accession of King James, in 1603, he was still in London, producing fur the theatres his tragedies and romances in rapid succession. In 1610 he probably retired to Stratford to enjoy his fortune. His only son had died in 1596 ; of his two daughters the elder married a physician of Stratford, in ifioo. the. vnunpf^r Mercy. 87 a wine merchant of the same place in February, i6i6 Two months later Shakespeare died of fever, at the earf; age of fifry He produced in all thirty-seven plays, the wonderful power of which IS evident from the fact that at the present d^y three centuries after their production, they are more popular thJ^ ever and are still acted to crowded houses. Space fo?bids the men tion of more than wo or three plays of the various kinS of drama he attempted. " Richard III,'' and •' Henry IV " m a v be ••irtu'u'kri .P"'T^'- '7^^ ^^^^^--^ oTvLc^'^and AS you Like It,' as typical comedies ; « Tulius Caesar " ;; Hamlet and - Othello," ^s typical tragedies and '-tL Te"mT.^f '' ^"^. '' .Othello," ^as-ty^I^rWagedi^sT^and Tempest," as a typical romance. ^u For.Ro^er of portraying character, for depth of insight into the problems of human life, and fo. mastery^cf langulge The world has never seen the equal of William Shakespeare. ^' I. L. PICTURES OF MEMORY. BY ALICE GARY. I. INTRODUCTORY NOTE. 'pHIS poem is not included in the volume of Miss Gary's works published after her death by Houghton, Mifflin & Co., and edited by Mrs. Mary Clemmer, who had been,during her lifetime the editor of her writings. It is, however, still published as a song, with an accompaniment by Hauptman, under the title of "The Little Forest Maiden." In the song, Hues 5 to 16 of the poem are omitted, line 17 reads, instead of " I once had a lit- tle brother,'; «' It is of a little maiden ; " and in line 32, " arrows of sunset " is changed to «' golden sunset," other alterations to correspond with these being made. The song was published during Miss Gary's lifetime, but I do not know whether the changes have her sanction. They seem to me, on the whole to be judiciously made. The pictures suggested bylines 5 to'i6 though sometimes beautiful, and always prettily expressed are' when true to nature, somewhat out of keeping with the general 88 Pictures of Memory. 89 picture of the " dim old forest ; " and the relationship indicated by the word •' brother " is rather commonplace for the highly romantic, not to say improbable, incidents of the poem. By changmg " arrows of sunset " to " golden sunset " there is a gain in euphony at the expense of the loss of a very striking figure. II. QUESTIONS. 1. Tell the story of the poem in your own words. 2. Describe, as clearly as you can, the pictures suggested to your imagmation by the first and last sections. 3. \Yhat ist here in the poet's pictures that makes you think she :.s drawmg upon her imagination, not describing what she has seen ? 4. Can you give any reasons why the author should select autumn rather than any other season as the time of the brother's death. 5. With what feelings does the supposed speaker regard her brother's death ? 6. Divide the poem into sections, grouping the lines in ac- cordance with the changes in the thought, and making the sub- divisions different from those of the text-book. State the subject of each section. 7. If this poem were divided into stanzas, how many lines would there be in each. III. EXPLANATORY NOTES. Line. 2. Memory's wall.— Memory is compared to a picture gallery on the walb of which hang beautiful paintings. 5. Gnarled.— With rough, knotty trunks and branches. 6 Mistletoe.— \ parasitic plant, that is one that grows upon another, deriving sustenance from it. The mistletoe is generally tound on trees of the apple family, and sometimes on poplars but very rarely indeed on the oak. It is an evergreen, bearing leaves of a very light color and small semi-transparent white berries. 7. Violets golden.— The yellow violet grows abundantly in flowef ^° ^ ' ^* ^^ °°*' ^°'^^^^^' ^ ^ery conspicuous 9. Milk white lilies.-Theonly wild lily I know that bears a milk white flower is the tnlhum, a very common plant in the woods in sprmg Line 10, however, suggests the idea of a more graceful flower than the triUium. The word hedge, too, though 90 English Literature. it might mean simply a thicket of bushes, is generally applied to bushes used to form a fence or enclosure. Perhaps, therefore, the poet has in mind cultivated white lilies growing near the for- est in a garden hedge of sweet-briar or of some other fragrant plant, II. Coquetting. ..sunbeams.— The writer poetically attributes to the lilies the intention of coyly attracting the caresses of the sunbeams. _ 12. Stealing. ..edge.— The edges of the petals of the lilies glow m the golden sunlight. Cf. Mrs. Browning's poem, " To a Dead Rose " : '• The sun that v " to smite thee, And mix his gl cy in thy gorgeous urn, Till beam appeared to bloom, and flower to burn ; If shining now, with not a hue would light thee." 13. 14. No tf or... rest. — A somewhat common cHmbing plant bearing a bright red berry is the bittersweet. It is, however, gen- erally found in low marshy ground, not in the " upland." 15. Pinks.— The poet probably has in mind the fire-pink, found sometimes in Southern Ontario, and common a few degrees south of us in the United States. _ Cowslips.— More commonly called primroses, are plants bear- . ing clusters of pale lilac fiowers with a yellow centre. 19. Lap. — Suggests an idea of tenderness and love in as- sociation with that of the resting place of a child. ^i. Arrows of sunset... bright. —The rays of sunlight darting through the spaces between the trees, and illuminating the foliage of the upper branches. 36. Gates of light.— The glorious beauty of the sunset sky calls to the mind of the poet the thought of the golden gates of heaven, through which the soul of the dead child is to pass. IV. SKETCH OF THE LIFE OF THE AUTHOR. Alice Gary was born near Cincinnati, Ohio, in 1820. Her parents were people of a fair degree of culture ; but in a newly settled country, as Ohio then was, they found few opportunities for securing educational advantages for their daughters, Alice and Phoebe. The latter, however, overcome by their patient en- ergy the difficulties of their position. It is related, as an example of their perseverance, that when their niggardly and unsympa- thetic stepmother denied them the use of candles they con- structed a rude lamp, with a piece of rag and a saucer of lard by the light of which they pursued their studies. At eighteen years of age, Alice began to w.ite poetry, and she was for many years afterwards a valued, though generally unnaid, contributor in Pictures of Memory. q, prose and verse to newspapers and magazines. In iS'^z, she and her sister pubhshed a vohinie of poems. The success of th^h^ venture was such that they decided to move to New York and de vote themselves wholly to hterary pursuits. In their city career ir^worTd "A\^;."rP''°".''^'.'"^">"^^^^^h P^^*-" in he the" ary world. Alice Gary died m 1871, after a lingering and pain- ful Illness which she bore with patience and resignation In h?r sufferings she was tenderly cared for by her inseparable com Kust";;'ahhuTtothef " 7/- l-"er, through a^prrTnt^ inTo-" fi ! J. 11 P A ?• *^^ ^'"^^ ""^ ^'^^ s^^ter's death, only survived her five months. Alice and Phoebe Gary stand among the foremosf of the female poets of America. Their prose works too ^re remarkable for their graceful style and for fheir realistic des'crl^! A. W. B. 1.^ " ' fi THE BAREFOOT t^OY. BV \VH rn I KR. JOHN GREENLEAF WHITTIER. I. INTRODUCTORY AND BIOGRAPHICAL NOTES. J^ BAREFOOT BOY doesn't seem a very likely subject for a poem, does he ? The ordinary verse-maker does not choose such commonplace subjects. But the true poetic instinct and inspiration are shown by the writer who takes the things of every day and shows us the halo that is about them. For there is beauty in humble things if we could but see. We with dull com- mon eyes need poetic revealers, and Whittier is one of them. 92 The Rarefo( Bov. 93 How the critics and tho pedants musf ' ave laughed when it was said that some one had written a poem on a siiirt ' And a serious poem, too! The idea of it, how absurd! Professor Hain could have given one hundred and ( ,ie reasons wh^- there coil d not 1- a poem on a shirt. Yet Thoma Hoo, vill lown to everlasting fame chiefly as the author of thai ver poem. Bu IS, w so wn hitticr's prototype and first model, wrote his oestpn. , ,„„i)le themes; a mouse or a mountain flower had lusp , lor Inm James Russell Lowell has glorified the dandelion in x i^e, and CliarlesG, D. Roberts justifies himself as mr own true Canadian })oct in his strong and beautiful sonnets a 'Hurnt Lands," the "Potato Harvest" and the "Cow Pasture." mJ' ^h-^^?"?/''^'' '"'-'^ 'i^"''" ^" ^^"7. near Haverhill, Massachus- etts His iather was a farmer and both parents were consistent worthy members ot the Society of Friends, or Quakers as the world cals them. The lad was brought up to work ; as soon as he was abi e took the cows to pasture and brought them home at night, i h-ove the harrows over the lumpy fields, he hoed turnips and picked potatoes just as any country boy does now-a- days. But he had the -H.untry boy's pleasures too; he knew where the buinb e-bee's i.est was in the red clover and the wood- chuck s hole under the stump ; he had berry-picking and nutting to his heart s content and a few year's later he enjoyed the fun and trohc of tiie corn-husking and the apple-paring gatherings 1 here were few books in the VVhittier household and the boy re- ceived only a public school education. But he had a love for reading inlicrited from his mother, and having obtained an old copy ot tlie pocins of Robert Burns, he early began to turn into verses the legends of his neighborhood, with the Scottish poet as his model. When William Lloyd Garrison, the leader of the Abolition movement, founded his paper, the Liberator, and dedi- cated it to the Lmancipation cause, Whittier became his most ardent assistant. Already he had gained considerable reputa- tion as a poet and had a bright future open before him, but he sacrificed it all in the interest of the downtrodden negro. He was the prophet and psalmist of the Abolitionists in the three- score years of obloquy and conflict ; he lived to chant the viccory ?Tnf.'n ^i"? ""''i \'' '■''"'^V^ ^°"°^ ^"^ respect from the whole ric?- "1^ ''^"ti-slayery lyrics were hast- and imperfect com- positions from an artistic point of view, bui their moral effect was tremendous In the region of pure poetry he has gained just tame trom his idyllic pieces, especially " Maud Muller " and Snow Bound." Several beautiful hymns of his composition are to be found in Unitarian hymn-books. Yet after all, as some one has well saidT his life is his finest poem. Whittier was independent always. As a young man he I ^ '^^^. ^- ^ r^% % 7 ers... place.— Country pupils might be asked to illustrate, naming the most characteristic flowers of the seasons and the places where they are to be found. ^ 1. 17. Flight of fowl. —When the birds come and go in their migrations ; perhaps also mode of flight, as no two kinds of birds fly just alike. What birds first come in spring to Ontario ? Compare the flights, say of the wild duck and the kingfisher. 1. 18. Tenants of the wood.-Whsit are some of the creatures meant here, and what habits of theirs would the boy know ? I. ig. How the tortoise... well. —Does this mean merely that the boy knows the manner in which these animals act in the cases men- tioned, or rather that these are the features or characteristics that he notices most, knowing many others ? 1. 21. Sinks. ..well. — No allusion to a cavity for water, the mole shows that the poet needed a rhyme for shell and cell, and the mole burrows round holes, which, though usually horizontal, in some places come vertically to the surface, 1. 22. How the robin... young. — Is this tiie manner or the mater- ial of the feeding, or both. 1. 25. Groundnut.— Dehne^ by the " Century Dictionary " aS ♦'the apios tuberosa o( the United States, a leguminous climber with small tuberous roots." The Barefoot Boy. 97 ression to 1. 27. Cunning.—Skiliul Compare " cunning workmen."— Old Testament. 1. 28. Walls of clay — i.e. the hive of the wasp. Architectural plans.- -i.e. the result of the plans, the symmetry and strength of the nest. ' 1. 32. Eschewing.— Is it nature as a teacher keeping clear of books, or is It the boy as a learner eschewing books and going to nature ? Are books then of no assistance, not even in the study of nature? Whittier perhaps refers to the exclusive atten- tion given in his day to such studies as Latin Grammar, to the en- tire neglect of natural science. 1. 33. iVfl/M>'^...fls^s.— What precisely is meant by nature here ? How does nature answer ? Does nature answer all the boy might ask, as for instance, how is it that of two trees growing side by side, one produces sweet apples, the other sour ? Yet show that the physical sciences are being built up from the answers of nature to onr questions. Note that we question nature both by obser- vation and by experiment as the boy did. ,,J' 34- -f^^f^ ifi hand... joy. —Compa.re the extract from Bryant's 1 han V >psis," written when but a boy :— " To him who, in the love of nature holds Communion with her visible forms, she speaks A various language ; for his gayer hours She has a voice of gladness, and a smile And eloquence of beauty." 1. 36. Part mtd parcel.— k common-place phrase to be taken as a whole. The line means that the boy shares in all the jovs ot nature, and that nature rejoices in him. h 42. Regal tent... monarch.— Observe the situation carefully and the manner in which the idea of royal splendor is intro- duced and earned on. Compare the poet's idea with that in this paragraph from '« My Chateaux," in " Prue and I." by G W. Curtis. ^ *' Titbottom suddenly exclaimed :— « Thank God ! I own this landscape.' "'You,' returned I. " * Certainly,' said he. "'Why,' I answered, 'I thought it was part of Bourne's property.' " Titbottom smiled. '* * Does Bourne own the sun and sky ? Does Bourne own that sailing shadow yonder, or those ghosts of hills that glide paUid along the horizon ? Bourne owns the dirt and fences : I own the beauty that makes the landscape.' " 1' tvAi ;!■ 98 English Literature. 1. 46. For music— Does this mean instead of music, or that ?.t really was music ? . , • 1. 47. Orchestra.-The little tree frogs pipe away seriously m flute-like tones; ordinary half-grown /^ogs thrill with genuine sweetness ; anon the hoarse - tr-ronk," " tr-ronk of an old patriarch frog breaks in with the bass of a trombone. 1.48. Noisy choir.— Reconcile this with "music" and "or- chestra." 1. 50. Pomp and joy. —Vomp and circumstances to produce joy. 1. 57. Fresh baptisms.— Physical renewal or regeneration. 1. 61. Prison cells of pride.— So a country boy might regard shoes in summer, except when worn as a protection on rough ground. Doubtless, too, shoes are often worn rather frompnde than need. In some country schools most of the children go barefooted. Fre- quently some o^f them are compelled by their parents to wear shoes solely as a mark of superior gentility to the others What also of the tight shoes of slaves of fashion ? Notice that the poet recognizes further on the need of the feet bemg shod for work 1. 64. Mills of /oi/.— Nearly all human work is as much a mat- ter of repetition as is the movement of the horse in the tread mill. Illustrate. 1. 65. Moil— Toil, drudgery. 1. 70. Could'st know. Could'st realize how happy thou art be- fore thy happiness disappears. Notice the extended metaphor in the last lines-the boy ex- posed to danger from sin as the traveller from quicksands Remark as well the deep moral earnestness of the poet, as he wishes a pure and happy life for the boy. This last section is in substance m-e didactic than the rest «? th%poem yet it is poetical ' spite of Edgar A. Poe's dictum that a didactic poem is a contradiction. Compare the conclusion of "The Humble Bee," and of other poems. A. S. THE DEATH OF THE FLOWERS. BY BRYANT. I. INTRODUCTORY. fHE followin^T questions are intended to suegest the mode in which the study of this poem should belfegun '" 1.— What feeling pervades this poem ? 2. -By what means is this feeling maintained ? 3.-1S the autumn an especially melancholy season ? Why ? " Ere in the autumn gale, The summer tresses of the trees are gone Ihe wood^ of autumn, all around our vale ' Have put their glory on. * * ft * ♦ » And far in heaven the while. The sun. that sends the gaie to wander here. I'ours out on the fair earth his quiet smile, Ine sweetest of the year. * * • • • The iivulet, late unseen, qh^!!^'"^-?u''?u ""° *^''°"S^ *^<=^ ^'^''ubs its waters run. Shines with the image of its golden screen And glimmerings of the sun. * * * » • ♦ Oh, autumn ! Why so soon Depart the hues that make thy forests glad Thy gentle wind and thy fair sunny noon ' And leave thee wild and sad. "] der whi^l^^f e^f r"""" '' ^^^'^ ^^^tween the circumstances un- aer wnich these two poems seem to have been written? sonX^^n^th/'Zfi^'f.1!^T"^" ^° *^"^^' i« th^r- ^P-^ial rea- g?oomv s^de of fhP -^/^^^^T^^."^ *.^,^ I^°^t should see only the Sprelions of Pv^^'^^Kf^^^ illustrations of the fact that nnr S u ^ external things are modified bv the state of ^th^ the^] "'''" "' °^^'^^^ '^^'"' «^ ''y associatio^ns contcted 7.--Point out passages in this poem that show that, as he 99 !, l>: || ft !;■' lOO English Literature. wrote it, there came to the poet's mind circumstances in harmony with a cheerful rather than with a gloomy mood. 8. — What is the main theme of this poem ? And what the subsidiary theme ? Show the relation between them. 9. — State the topic of each stanza. [It would be well to take up this lesson late in the autumn, and before beginning the study of the details of the poem, to ask your pupils to seek for opportunities of observing nature at this season so that they may have vivid impressions of the sights and sounds described by the poet.] 10. — What stanzas present the most vivid pictures to the imagination ? [Make your pupils see and feel what the poet describes : tell them, for example, to listen in imagination to the sounds he speaks of, and ask them to try so to realize his pictures that if they possessed the requisite artistic skill, they could reproduce them in paintings.] ^ H. EXPLANATORY NOTES. 1. I. Melancholy days. — The lines following explain these words. 2. Sere. — Dry, withered. 4. Eddying gust. — A circular motion is given to the wind as its course is checked in the sheltered hollows, 5. The robin and the wren, that delight us with their sweet music, leave us early in the autumn for warmer climates ; the jay with its discordant screech and the harsh-voiced crow remain nearly all winter. The use of a semi-colon after " flown," would make the relation of the last phrase of this line clearer. 8. Brighter light... airs, — Of spring and summer. 9. Sisterhood. — The use of this derivative from a feminine noun is suggestive of the refined and delicate beauty of the flowers. 10. With the fair... ours. — The poet possibly intends this to apply only to the person referred to in the last stanza. It may, however, apply to all the fair and good of our race who are lying in the grave. 11. Cold November rain. — Unlike the warm rains of spring that do call them to life again. 13. The wind flower. — The anemone and the violet are two very common and very beautiful spring flowers. 14. The orchis. — A quaint and showy summer flower. 11 The Death of the Flowers. lOI monln^hTwooTl^lulu^^^^^^ of a purple color, com- specfesirrntraTu;;''trav's h""-'°"^^ '' '^^^ *^- -^^^-^t^^ marshy ground ' ^ ' ^°^^^^^' ^re sparser. It grows in ther'Iar^no^fouit'The";?". '"'""^""^ ^^^^*^ ^-^^ -hen from the earth ^ *° P'^^^"* '^^^^ radiation of heat As falls the Plague on m.«._Blighting and destroying. i8. (//'/««rf.— Hilly ground. Glade.— An open space in a wood. Glen. —A narrow valley. ^^■Smoh UsIU.-The hazy sunlight of an autumn day. Ktll.—A small stream. an,olg,"e b^ cherof The Teafle's t"ett "T" ''^ "."J"^' earlier in the year *^ fragrance when it was aconstant visitor so„^^it^e^f^^h^^%''etwfs:?StTenr' ""= ^°^'' "'>'' -^'^O 26. The fair meek blossom.~Ci. 1. 10. 29. C/»w^^/.~Unfitting, unsuitable.* III. BIOGRAPHICAL. (See biographical note to "The Prairies," p. 53.) A. W. B. -;■ ■ . i I ^ - I II Hi. THE FACE AGAINST THE PANE. BY T. B. ALDKICH. T. B. ALDRICH. imi I. EXPLANATORY NOTES. Page 74, 1. 4. Beacon light.--A signal light. Here a light used to guide sailors ; a light-house. 5. A -trembling.— As it is seen indistinctly through the rain. 7. Breakers. — Waves dashing up and breaking on the shore. 13. Crone. — A word applied with an idea of contempt to an old woman. 17. Gaunt. — Thin or palsied, shaking as with paralysis. 25. Fisher... lover. — A lover who is a fisherman. t02 The Face Against the Pane. 103 Page 75, 1. 5. Staunch.—Sirong. Tight, watertight, water! ^''^' ~^ ""^^^ °^ ''"''''^ ^"^* ^^"''*' *^'° ^^^^^^^ of the 7. na/ mfl*« ///^ K;«/m white.- As the waves break upon it. 12. Ftf»«ff/.— Marked v ith irregular lines. souni'infeel^^^^^^ -^- ^^^ wind falls that the i6. Lost soiUs.~The souls of those who are lost at sea it is t'o%o1uh: M."' '''''"'^'' '^ " '^"'^^^' °"^ °^ ^^-^^ ^"ti«« Knell.—The tolling of a funeral bell. 18. fl«//ry.— The tower where the bell is hung. the se^a ^oITJJ"^'''''.^^ the spirits of the storm. Gales upon beL to toll «°"^^^^"^^« strong enough to cause the church coast.'' "''^' *^««'^— Homeward bound and so approaching the 32. Shoals.S&nd banks, etc., in shallow water. or by''cofstgua;i;.^°''''^ "'' '^^^ "^ ^^^"^^^ ^^ ^^^P« i° ^-tress 34- Shaft.— A slender, lofty pillar. the ^^t^l^t: iZ'Zrly' ^*^^^'^ °' '^^ "^^^^ ^^ of the'^ky'afsunrii:!--'^'' 'P^''^'"^ "^^^^ ^^«^^*^"^ *^^ -^o^ rof J^r '^"f''^-/^^^^ touched.~The spires, or rather the towers of Si^ '^'^"'''?^' ^J^ frequently ornamented with fig^es of samts and angels. Mr. Aldrich is probably thinking of such 1 figure covered with hoar frost resplendent in the sunlight! 32. 5^ayA!.— Stiff in death. 30. Looking sees it not.—Ct 11. 34 and 35. 35- And... light.— The open eyes of the dead girl seem to Hp 1^ 'i II. QUESTIONS AND EXERCISES. I.— Tell the story of the poem in your own words. the fielT'gf SSbuS toVaS "'''™- '^"'"^ ="« "> '"™=-" wm. 104 English I.iteraturf 4. — Describe the character (»f Nfabel. 5. — point out the portions of the first section, that do most to enable ns to •.itidcrstaiul Mabel's feelings. f). — Supposiiif; the rircnmstances of the weather unchanged, but the hero to hv. (,ne in whom the storm would induce a mood of joyous elation, what changes do you tliink sliould be made in the tiescription of the tempest ? 7. — What are those passages in the second section in which the form of a direct address to Mabel is adopted, intended to express ? 8.- Describe in your own words, making no reference to per- sons, and showing tiiat you enter fully into the spirit of the poet's descriptions, the sights and sounds connected with the rise and subsidence of the storm. III. SKHTlH OF THE AUTHOR'S LIFE. T!wOmas Bailey Aldrich wasbor.. it Portsmouth, New Hamp- shire, in i8j("). His early youth was passed in Louisiana, but on the death of his father, he went to New York to take a position in the office of his uncle, a merchant of that city. While thus employed, he began to contribute prose antl verse to newspapers and magazines. His " Hallad of Habie hell," published in 1856, was so well received that he decided to devote his whole energies to literi.ture. In his career as an author, be has been very suc- cessful. Besides doing good work as a journalist and as a con- tributor to magazines, he has written poems so excjuisitein design and finish, that h.o may be juitly placed at the head of the youngtr school of American poets. His novels, too, are full of the most delicate humor and are written in a charmingly graceful style. For years Mr. Aldrich was editor ot America's most literary mari/ine, the Atlantic Monthly, A, W. D. fj ! FROM "THE DESERTED VILLAGE.' BY GOLDSMITH. OLIVER GOLDSMITH. I. INTRODUCTORY. Y^^^^, P"P^ls find Kreat difficulty in knowing how to set . about the preparation of a lesson in literature. After a pre- iTkXL*t'o^reaT>''^ f ^1^^* °' the lesson, the teacher?ho^uTd ?f.t . nil J^ ^ carefully several times in order that they may UD in a d1rtl!fn^^''*^"f ?? ^^ '^' ":*'''^"^"^ ^' ^ ^h«l^' ^" J to look 1 Liv ?o i. ^ ^' • "'*V'^^ meanmgs for the words they are not seS ?nr )'h/'^'''°x??,^y T,!- J^'^'^ ^°^^^ the teacher should select for them. When the lesson comes up for analytical 105 II io6 English Literature, treatment.if the selection be m prose, or in descriptive or narrative poetry the teacher should first question his class (with books shut) close y on the matier contained in it. Such questioning will ^how whe her the pupils have carefully read the lesson, and is exceedingly valuable in fostering a habit of close reading (a habit alas ! too rare) It will also ensure such an intimacy with the author s thoughts ap will beget a love for them and consequentlv a love for al. good literature. It is invaluable as a disciplinarv exercise and in the hands of a skilful questioner and enthusias tic teacher, can be made a most entertaing one. When this ex- ercise is concluded, books should be opened, and the analytical study be taken up. The object of this part ohhe workTs to gTve nU^y^-f^ ""u^' °.°*'u" °{ *^^ "^^^^i°g "^ ^^^h sentence. Some ofthe difficulties to be cleared up are : (i) Difficulties arisSg fiom Ignorance ofthe meaning of words. These must be over come by dictionary work on the part of the pupils. (2) Those ZT/J'^'-V^'' ^If>^' ^^ ™^^' ^•^•' " Where smilingspringTts earliest visit paid," " A man he was to all the country dear '' 1 hese will vanish when the pupil has transposed the words into their natural order (3) Those arising from the use of participial phrases or from elhpses,..^. - Tales ot sorrow done," "TheTer vice past." By changing these into clauses, the meaning will at once be made apparent. Unusual ellipses should always brsup phed, as they are often a stumbling block to young children. (4) Difficulties springmg from the use of epithets Some of the poet^s finest effects are produced by his epithets, and the teacher mSsth^ very careful tosee that the pupil und'^erstandsand appreclte^^^^^^^^ e.g. hngertng blooms, sweet confusion. When the whole lesson has been thus carefully gone over, the pupils should be requ red to est'o e't"o fh.?r'^'"^ '' ""'^'Y ™^ ^^ ^" ^"^P^^tant exercise to restore to their young mmds a conception of the poem as a whole, and to satisty the teacher that every line is understood Oral readingis anecessary part of every literature V 'son Its vahie as testmg knowledge ofthe meaning is well illustrated^n the line :' I knew him well, and every truant knew. " Two different meTn' ings are brought out according as -well" and ''^ruant '' or - T'' and 'every " are emphasized ; and school children can appreciate the difference Again even with Fourth Class pupils, mJch can be done to foster intelligent criticism if the teacher gets fmmthem their opmion as to what lines or images are beau^Kul nShetlr humorous etc. And finally, it almost goes without S^^^ Tet^mmi^^S^tfiitm^^^^^^^ II. EXPLANATORY. fi,« ^ ^' '^T/ <^"*«/'«--Lissoy,the poet's boyhood home claims the honor of being the original Auburn. ' From "The Deserted Village." 107 Swain.— A common word in poetry to denote a young man living in the country, a peasant. Parting. — Departing. Seats of my youth.— F\a.ces in the midst of which my youth was passed. Green. — A grassy plain. D^c^;i^— Used in its original sense o£ comely, becoming. IT II. Responsive.— Singing in response to the milkmaid. Sober.— Serious, grave m appearance. The expressionless countenances of the herd are contrasted with their joyous feelings. Spoke the vacant mind. — Indicated an empty mind. IT III. Co/»s^.— A growth of shrubs and bushes. Passing.— For " Surpassing," exceedingly. Ran his godly race. — Lived his pious life. Fawn.— To court favor by sacrificing one's own inde- pendence. Fashioned to the varying Ao«n— Adapted to the changeable lasmon of the times. Bent. — Disposed, inclined. The vagrant train. — The troop of wandering beggars. Broken. — Broken down by war. IF III. Talked the night away.—'Pa.ssed the night in talking. Shouldered his crutch. -As if it were a gun. Glow, — To warm with pleasure. Careless... began. —Wiihoxxi any desire to look closely into their merits or their faults, he gave them alms out of pity, and did not look upon his gift as charity. 11" IV. Each fond endearment tries .-Tries, every kind of caress that love can prompt. Reproved each dull delay .—T^elaying has the effect of benumb- ing or dulling the conscience. il V. Champion.— One who upholds a cause. The preacher upheld the cause of religion. The trembling wretch to raise.— To cheer the wretched sinner, trembling with a sense of his guilt. IT VI. Warmth.— Lo\e, warmth of affection. Swells.— Mounts high. Midway leaves the storm.— Rises so high that the storm clouds rest midway on its breast. ^u^ ^M J" ^^P^ofitably.— Because its blossoms were seldom seen, as tiic viiiugo IS now deserted. li io8 Engiish Literature. Village. —Used for villagers. H VIII. Terms and tides presage. —''Terms " are the sessions ot the universities and the law courts; «« tides" are " times and seasons," the movable feasts of the years, such as Eastertide. Gauge.— To measure the capacities of casks. III. QUESTIONS AND EXERCISES. r u ^-—W^^at is the subject of this paragraph ? What features ot the village are mentioned? Can you see the village as the poet seems to see it ? What feeling does the poet enter- tain lor the village ? What words represent this feeUng ? Does anything else represent the same feeling ? IF II.— What is the subject of this paragraph ? What is meant by the village murmur ? What by the mingling notes ? As a description of the village, how does this paragraph differ from the preceding ? IT III.— In what sense could the garden smile ? The mean- mg of modest ? Is the poet satirical in representing the preacher as passing rich ? If not, what does he mean ? " Pleased with his guests,"— what guests have been mentioned ? Quote Hues to show that the preacher was popular, contented, unambitious, kind-hearted. IF IV.— Has the poet mentioned or hinted at any of the preacher's failings ? If so, what were they ? What is the mean- ing of, " Leaned to virtue's side ? " Of what do the preacher's earnestness and anxiety for his flock remind the poet ? Does the comparison make you think more or less of the preacher ? ^ v.— What is the meaning of, " When parting life was laid ? " Who is meant by, " The trembling wretch ? " Show the force of trembling,— oi ivretch. Would the word, "uttered," express as much as the word, "whispered ? " IT VI.— "Truth from his lips prevailed with double sway.'' In reading, v/ould you emphasize " his " or " lips ? " Why ? Show clearly the meaning of, '• with double sway." [Truth is in itself mighty ; but the preacher's words were so persuasive they lent an additional power to the truth he preached. Hence truth, as preached by him, had its own sway and the additional sway °l]}}^ eloquence.] How does the preacher resemble " some tali elm ?" IF VII.— What are the " boding tremblers ? " Is the name appropriate? Show the meaning and force of each word. Did they appreciate the master's jokes ? What word tells you so ? Why then did they laugh so heartily ? Was the master a very learned man ? Does the poet think him so ? Do the rustics ? Why are the rustics gazing ? From "The Deserted Village.' iii. general questions. 109 How many paragraphs are devoted to the description of the preacher ?-of the master ? What feature of the description is n^oJf"? %ru • ^""^ paragraph ? Which character pleases you fhpLLY T^x''?P?'^M,*^ ^^ *^^ °"g^"^l of the master ?-of SL^^k- ''^•^' ^ .^^'^.It'''"^^^ ^" ^^'^ ^^thor supposed to have b^Th^'mo'sTLlWulT'^^ '^^'^'^ ^^ ^^^ P°^^" ^" ^- ^^-^ t« IV. BIOGRAPHICAL NOTE. OHver Goldsmith was born at Pallas, Ireland, in 1728. His lather, a poor parish clergyman, removed, when Oliver was about two years of age, to the pretty little hamlet of Lissoy, where Oliver s youth was spent. His love of this place, and the simple pleasures of his life there, are well portrayed in " The Deserted Village. As a child, he was considered dull, and by some was even pronounced a dunce. At the age of eight, he was severely attacked by small-pox, which disfigured him sadly ; and this, to- gether with his heavy, ungainly figure, was a source of annoyance to him throughout his life. The rudiments of his education he received at the village school of Lissoy, under the instruction of Paddy Byrne, an old soldier, of whom he has left an imperish- able portrait m " The Deserted Village." By the kindness of his uncle Contarine, who undertook his education, he was sent to school at Athlone and Edgworthstown, whence he entered Innity College, Dublin, in 1745, as a sizar. As an under- graduate, he was idle and careless, choosing rather to indulge his passion lor reading poetry than to apply himself to severe study Atter taking his B. A. degree, in 1749, he was thrown upon the world without any definite plan of how to earn his living He undertook a tutorship, but soon flung it up in disgust. He re- solved to go to America, but the money provided for this purpose by his uncle, was soon squandered in Dublin, and he did not go. He then determined to go to London and study law, but this resolution was also abandoned when the money necessary for carrying it out had been spent in a gambling house in DubUn. He now made up his mind to study medicine in Edinburgh. At Edinburgh he stayed two years, studying in a desultory manner. 1 hence he proceeded to Ley den to perfect his knowledge of chemis- try and anatomy. Whileat Leyden, he conceived theideaof making a tour on foot through part of the continent. With no property but the clothes on his back, a spare shirt, and his flute, he wandered through Germany, prance, Switzerland and Italy, living on alms obtained at the gates of convents, and playing tunes which often procurea him a supper and a bed. On returning to London in 17501 he became in turn tutor, apothecary's assistant, and IZO English Literature. he tonpS nlf 1^ 'T^^* drudgery of literature. For six years he toiled like a galley slave, achieving little to win him fame but drfideed"^ T"^-'" '^' estimation of the booksellers for whom he drudged As his name became better known, the circle of hi^ RoT^nTi ^T Y^^""^^- "« became intimate with Drjohnson Reynolds Burke, and was one of the original members of the famous Literary Club. In 1765 he published - Th^ Trave ler " a poem based on his travels on the' continent, and at once rose to the foremost rank in literature. In 1766 was published - The Vicarof Wakefield," a cliarming novel 'which had been wriUen enab^rhL /'''"' ^^^ ^^°'" '^H ^'' J^^nson had negotiated to comedies of °Pf/bis account for lodgings. Then followed the comedies ot The Good-natured Man," and *' She Stoon<; in Ton quer." In 1770 came - The Deserted Village,'' his Zst famous poem. Everything he produced was eagerly read h^popuSv was unbounded But difficulty and distress stil clung?o h m^ He was constantly in financial trouble. When he had monev he was extravagant and soon lost it. A street beggar with a pftiful fvlVn/^^. ^^^^i^^.^llthe money he had in his fock^t Thus he lived till close study, irregular habits, and financial cares brought on a fever, of which he died in 1774 orougnt affeJronf ^''of hfcf ^'^'1*'^'' ^i^gentle nature endears him to our attections. Of his work Dr. Johnson has said : " He left -carcelv nSf adorn?'. '°^ untouched, and touched nothing that he did I. L. RESIGNATION* BY LONGFELLOV/. I. AUTOBIOGRAPHICAL SIGNIFICANCE OF " RESIGNATION." R^SJ9^,^^^^^J while representing to us the chastened feelines ot fathers and mothers in general on the loss of beloved chil- dren, acquire^ additional interest from its connection with the poets own life. The poem is the expression of Longfellow's feelings on the death of his mfant daughter Frances. Inhisjour- nal he chronicles the incidents in her short life. '« Oct w 18^7 Fanny was christened She looked charmingly and behaved well throughout. Sept, 4 1848. Fanny very weak and miserable. Which way will the balance of life and death turn ? loth A day ot agony ; the physicians have no longer any hope ; I cannot yet abandon it. Motionless she lies ; only a little moan now and then, iith Lower and lower. Throughout the silent desolate rooms the clocks tick loud. At half-past four this afternoon she died....Her breathing grew fainter, fainter, then ceased without a sigh, without a flutter.-perfectly painless. The sweetest ex- pression was on her face. 12th. Our little child was buried to- .^I'iJ'^T ^f ""^s^[y' down the front stairs, through my study and nto the library, she was borne in the arms of her old nurse and thence, after the prayer, through the long halls to her coffin mJZ %J7^y^T^ \\'^^\ '^* ^y ^^^^' ^1°^^' in the darkened library. The twilight fell softly on her placid face and the white flowers she held in her 1 ttle hands. In the deep silence the bird sang from the hall a melancholy r.^«.Vm. Nov 13th. I feel very npl.°hf5' • ""f V3ry much my dear little Fanny. An unap- Cdfy controh" '"^ '"'"'"' ""^^^ "'^ ^* timesf which I can II. EXPLANATIONS OF CERTAIN LINES OF THE POEM. Line 3. Howsfer defended.— However watchful the parent may be to guard against disease or accident. ^ n.Ji.^" ^-il^'fu ""^ ^«^^^^-— Rachel is here taken as typical of a mother. That she may be so taken arises from the expressions in Jeremiah xxxi., 15, and Matthew ii. 18. ^ 1 10. Not from the ground arise.~Dea.ih does not come because of the powers of this world. 1. n.^ Celestial benedictions...dark disguise.— The blessings that Sfv^L^^^ rf,,^"!, "^ often come in ^he sad form of death-the Sliver hmng to the dark cloud. Ill 3 I II i 112 English Literature. •r 1. 13. We see but dimly... damps.— The punctuation is faulty. Place a comma at " vapors " and a semicolon at *' damps." We are so blinded by passions and prejudices (as we are physically, by mists, vapors, and damps) that we cannot see the true mean- ing of the calamities that befall us. Cp. " Life, like a dome of many-colored glass, Stains the white radiance of eternity, Until death tramples it to fragments." Shelley. 1.15. -F«»^^m/ /a/)m.../flm/»s.— The candles burning about the dead (custom of Roman CathoHcs), seem to our poor human vision the signs of a calamity. Could we see them with •' larger, other e) es," they might seem the lights of heaven, guiding us to our celestial home, [" Funereal " means properly suitable for a funeral, dismal, mournful ; as, funereal pomp, trappings. " Funeral " means be- longing to, used in, a f' r.oral ; as, funeral torch, rites, procession. The poet could have used «' funeral " in the line before us]. 1. 17. There is no death .'...transition. — Cp. " Life, which, in its weakness or excess, Is still a gleam of God's omnipotence. Or death, which, seeming darkness, is no less The self-same light, although averted hence. " Longfellow, Birds of Killingworth . 1. 18. Life of mortal breath.— The life that we, as mortals, Hve, 1. 19. The suburb of the life Elysian. — Suburb— part lying near (a city). The life Elysian— life in Paradise. The term Elysian fields (Elysium) was commonly used by the Greek poets to denote Paradise. 1. 22. 5(;/wo/.— This description of heaven is justified only by the thought that the child as she grows up is to be trained in all good graces. Note that the poet feels the weakness of the comparison ; for, in the following stanza, he strengthens it by reference to the •'great cloister's stillness and seclusion." Our notion of "school " is thus elevated into that of something massive, ancient, inspiring awe and veneration, like the great cloisters of Europe. [Cloisters are really covered walks in monasteries adjoining the cells; here, the monastery or nunnery itself], 1, ^^. Thus do we talk with her. — Accompanying in our thought her movements day by day, knowing each change that takes place in her stature and character. 1. 34. The bond which nature gave.— The bond of parental aflfec- tion and relationship. 1. 43. Beautiful with all the souVs expansion. — The poet holds the view that the countenance revealsthe purity and graceof the spirit. Kesignation. jj. n^r^c.^^;^,--^ the spHtual ^i'y^tiZ^:^^^^^^^^ chec. our death'of hfsSgh'r'f^^^^^^ has pointed out that the parted one is in IbrLhter an Jh.H °^ ^^f^?' ^"^ ^^^^ the de- mourn is to be rebeKl T ^^j^^r world than ours ; hence to pulse of grief is^ofstr^g^o^^^^^^ Nevertheless the im! will purify and sanctify tM-^rW^i^ repressed. He therefore silence. ''^^cmy thi . grief by bearing it in patience and in ni. QUESTIONS. pupn by pUent qSL"n'i "td'd' ^'°"^' '%^"^^*^^ ^^^ the talk with the class^on h "^ener.1 ..h'f '°°' r^l ^^^ teacher's '""l^: :'ix -"^^"sri^^^^^^^^ -e herd r Does ^eath'come 'be? "^""'"ll I""'' ^^^^^ enter every his flock from accident nr?!;^^"'^ ^\^ shepherd does not guard similar in hLan life ' Wh.f '^? *° -^^^^ '^ ? ^^at happens "fireside"? Who ^miS?^T/'^' '.f"^ "P by the^Jord parents were not carefu?toi?i!L H- ^u^^}" ^°"^^ ^^^^use the harm ? Do you^'now any ^"fireside's ''t^^^^^^^ '"^"^^ ^^^ chairs? How common does tht ^ \ * J . ^^ *^^^^ ^^^ vacant take comfort from the Vou/ht of P?^ V^'"^ ^^^^^^ ^^ '' ^^^^ he not think he does RememhfrT *^^ ^eq^ency of death ? Do uoes. Kemember Tennyson's lines in In Memoriam ■— ' °Th7/*.^' * • ^* ' ^*^^^ friends remain/ 1 flat loss IS common to the race '— And common is the commonplace. And vacant chaff well meant for grain. That loss is common would not make ' My own less bitter, rather more ; Too common 1 Never morning wore To evening, but some heart did break" that'Thus a?poe? tTest\r .*^ "f^^ '' ^ '^^^ ? [Note where.] What S^Uude^towfri fi.*-^^"^]^* *^^t death is eVery- take? Vhv does hP /vm!?^ "^t *^'^ ^^^ ^°^^d does the poet poem from this point on indicati.%'H"°^ *^"^ ^ . [Note that^the Show that death may not be ht f * u^ r^.f °"' ^°^ resignation.] of this world. H^w^coSd a ..,«-•'? the action of thepowers guise ? Give any fnstance to sW th^.^^"' ^^ ^ ^^^''^^ ^" ^i^" always able to judge the act?onsTfpf ^f Poor mortals are not death accordiig fo thrchris?ian iT^i'TJ-'^fj'- ^T""'' ^? ^...ure me, death and immortalityrwhe/h7uslrthtte?ms! 114 English Literature. il "suburb," "portal," "life Elysian?" If there is no real death, are we right to mourn ? [This completes the first step towards resignation. Death is really a change in life ; therefore we should be resigned]. But has any ill befallen the dead child in the Elysian fields ? What is her state there compared with what her state would have been if she had remained on earth? Does she need to be "de- fended " there ? Who is her guide and counsellor ? What kind of life does she lead ? Should the parents grieve on her account ? This completes the second step. The child is happy in heaven; therefore we should be resigned. But does she cease to be a daughter because of her being in heaven ? How do the parents still maintain their relationship to her ? Does she, do you think, know that they think of her ? How will she have changed when the parents join her in heaven ? How will she receive them? If she is still to be their daughter and to love them, should the parents grieve ? [This completes the third step. The child is ever their daughter; therefore they should be resigned] . , But alas ! the parents know and feel all this, yet love, the longing mother's love, cries out for the lost babe, and the sad heart swells with its grief, sobbing like the ocean tide upon a lonely shore. Yet be calm, sad heart, before God's will and work ; think of thy child in Paradir e, still thy daughter. Bear in patient resignation thy grief. It would not be wise to do more than mention the doctrine of physical growth in heaven which the poet seems to believe in. The poem should be c ommitted to memory. A biographical sketch of Longfellow will be found on page 41. F. H. s. '^■». RING OUT, WILD BELLS. BY TENNYSON. li ALFRED, LORD TENNYSON. I. — INTRODUCTION. "i^77*^^* remorseless iron hour Made cypress of her orange flower " "5 ii6 English Literature. such a theme, to put in words something of the grief he feels for one whose place no secord friend can fill, seems almost a sin. ** But, for the unquiet heart and brain, A use in measured la: lag*^ ies ; The sad mechanic exei ■ ^ , Like dull narcotics, numbing pain." Yet it is not the unmanly wail of a personal sorrow that is pro- longed through these one hundred and twenty-nine poems. The inner life of the human soul, its fitful struggles, its hoHest feelings. Its moods of depression and hopefulness, of darkest doubt and sublimest faith— all its storms and calms— are vividly portrayed. " Ring out, Wild Relln," forms the one hundred and sixth poem of the series. In the two preceding poems, Christmas— but a Christmas spent in a new home— is described. The poet is sad, for '• We live within the stranger's land, And strangely falls our Christinas eve. Our father's dust is left alone And silent under other snows ; There in due time the woodbine blows, The violet comes, but we are gone." He makes an effort to be cheerful, feeling that the " cares that petty shadows cast " should " A little spare the night I loved, And hold it solemn to the last." But he has no heart for the usual Christmas festivities, " For who would keep an ancient form Thro' which the spirit breathes no more ? -' New Year's eve comes, and the poet is in a happier mood. The spirit of hopefulness has triumphed, and, in glad faith that the future holds better gifts than the past has bestowed, that the good will grow until it finally triumphs over the evil, he hails the New Year which the bells are ringing in. II. — ANALYSIS OF THE POEM, 111 an analysis of the poem, for the purpose of ensuring a clear comprehension, and, if possible, something approaching to a pro- per appreciation of it, the following suggestions, questions and explanations are offered for the teacher's use : — The year is dying-... let him die. — The year is represented as a person dying. Compare " The Death of the Old Year," by the same poet, in which the personification is much stronger, e.g. Ring Out, Wild Bells. 117 How hard he breathes I over the snow 1 heard just now the crowing cock 1 he shadows flicker to and fro i IS nearly twelve o'clock, bhake hands before you die ?Ari y®?'"'. "^^'^ ^^^^'■'y rue for you What IS It we can do for you ? ' bpeak out before you die " men"ii'tLs''s:fo"IS-frl'^ ^!^^-"* the senli- above ! Here, thinking o^hpin.i'^* contained in those quoted and hoping be ter ?h "Is of ^L^^^^^^^^ *^ ^^'' ^^^ ^'^^^^'^ f^im, year go and the new yfar enter in ?n th/%?^"' *° '^^ '^^ °'d of the joy and jollity t'hecfd yea "gave" InS afraTd'oTS^?^"';^^ the new year may be bringing, he feels ^''°"^^^ " I've half a mind to die with you Old year, if you must die " ^.n ^oL^fpr^tf j;!'ortS:\ o'-LTfo'iiot ■''^Br.h^^r ? III. («.) The grtefthat saps the mind—What npr^nn^l .^f here ? How does grief «' san the m nd n ,"^1,^^^^°"^' reference what the poet says'elsewher^e in 'iTMenioriam •'?'''' '°"''"^^^* " I hold it tiuth v/hate'er befall, I feel It when I sorrow most ; ris better to nave loved and lost. 1 nan never to have loved at all " England/' are see' . ' „h ?^T'-\ ^^^^ '" " '■» Darkest how and soon be 1. ■ ^ " ''='"' "' '" '■°P« ""^t it will some- great aat.onal questions. He seeL" '- ^rc'rhlirthe close S ii8 English Literature. party {,'ovcrnincnt, with all the strife which it occasions. Cox, in his ' British Commonwealth," in speaking of party government, re- marks that though in its day it has served a good purpose, that day IS almost oyer. As it had a beginning, it seems reasonable to suppose that it may have an ending. It is true, as Macaulay remarks, that in one sense party government always has existed but only m the sense in which we may say there are two parties in every department in life, that is, a party anxious to preserve and a party anxiors to make changes. But in the sense in which we understand party government, it certainly did not exist in England till the time of Charles I., or, in the strictest meaning of the expression, not till William Ill's, rcigrj Still, the hot party spirit existing at this day in Kn-land doesn't seem to point to i speedy fulfilment of the poet's prediction. Or is it rather a wish than a hope he expresses ? (b) Nobler modes of life, iweeter manners, purer hws.— As our lives become nobler, our manners, the reflections of our lives will ot themselves become sweeter ; and as the laws of any (free) people are an index to the national character, they will become purer as that character improves. There has been a great improvement in tnghsh laws since the eighteenth century, especially in the criminal law— for example, men are no longer hanged for theft— but we have not yet reached the point beyond which no advance IS possible. V. (a) The want, the care, the sin.— Note the order in which the words occur. Does T. intend a climax ? —"The want "—the poverty and wretchedness, the physical distress that must' be re- moved before anything else can be done ; " the care,"— the mental distress, worse even than physical wretchedness ; " the sin "— moral evil, \vorst of all, worse than any suffering, the cause of nearly all suffering. (b) The faithless coldness of the times.— The absence of sympa- thy for suffering humanity T. looks upon as the most discouraging feature of the times. And wl.y this absence of sympathy? Be- caiise men have no faith in humanity, hence no motive for u^'2^ !''. ^"^^ f ^^''■^''-' ^^"e more "infidels to Adam " than • "'^"^1^1*° ^"?- ^''"''■'' i^^\^eful sp.;its like T. persist in believ- ing that somehow ^^^d wiii be the final goal of ill," but many have no power to help, because they cannot believe in any good to come from any effort to assist helpless, struggling humanity. ^ (c) " Ring out, ring out my mournful rhymes, but ring the fuller minstrel /«."— T. does not do justice to himself here. His rhymes may be mournful, but critical judgment has decided that such poetry as " In Memoriam " deserves and will meet with a better tate than the poet prophecies for it when he says elsewhere •— L^^ Ring Out, 'ild Bells. ^ox, in his ment, re- pose, that •asonable Vlacaulay s existed, 'o parties preserve, in which : exist in eaning of iiot party )oint to a sr a wish —As our ives, will 2) people purer as ovement y in the r theft- advance n which it,"— the it be re- e mental I sin," — ^ause of sympa- •uraging y? Be- tive for i" than I believ- Jt many ny good anity. he fuller rhymes lat such I better e : — 119 " These mortal luIlabK ; of pain May bind a book, may line a box, May serve to curl a maiden's locks " sanl?^uS;trttrctm'U ^ ^ ^^^^ ^^^ But the art of writing amTol^i^ 1 *.^ ^'^'l'' '"'"^ "^" Poetry. made this comb"n& ZLt'ZJtlul '"^""*'? "^ ''"."^^"^' died out. In Scott's- nnfThJ^ I ^^•'■^''^"^ poet-singers illustration of how the onc7h^L.tn ""^ M!."«tre ," we have an in social stat,/" Herrthe wnr,1 ^■'^'^" '1 '^'*'^ ^^"^ ^^" ^^n"* •' Fuller minstrel,''-urepeffect3/^ ''"^P^^ ^"^ P^^t^y. and expression : not s n£ in Kn! ^"'^^^"", command of feeling himself* sings. ^'°^ '" ''''^ mournful strain, as T. says he hues in cflara Vere de Vere-- ^ ' ^^™Pare the " Trust me, Clara Vere de Vere From von blue heavens above us bent The gardener Adam and his wife Smile at the clatnm of long descent Howe'er it be, it seems to me ' Tis only noble to be good Kind hearts are more than coronets And simple faith than Norman blood." thaS*^ubtte;t:1ra"„dledtat7" " ^if./^" I^ «^ A^g^^t. What does %ow ° meaS h ' cf ^^"-bl°vvn rose ? " - Clouds are highest up in ai?" wheS ^^e^^^^^ ^"- ^^^^ --th ten^ds to rarifytn^ scorn^" /JT'~T- ^^^^^^'^'.I trust. "They did not part in fs no fool ^^^^^^'''% expression for an affirmative one. (Cp, He IS no tool^He is a clever man.) They parted lovingly ^f/^'oj^^^— Is from the word " troth," meaning truth fidelitv To plight one's troth-to vow fidelity in love-to L betrothed ^^ r.(ri-^iff^V *'^^^'-— Because of my high birth. ^Cd A man of [high] family ; a woman of [high] rank ) ^ ^' so wen ^« LoiS'Ron'JH""'^! '" y»^^-That everything turns out Tn, u- , . , l P''^^ °"'y '" t'^« nearest male heir. If I live Vbre'ld' •l.rs.Vf '"■''^' ^^ ''°'' *= ^''°'' »=• (^p. " As s. 7 p'f'^(\the word,.-hn exaggeration. Cartier had suffered so mtensely dunng the wmter, that he would naturally dwell upon this aspect of the Canadian climate. ^\.tx?'' "r^^" '"7 a^/'Cast^EuTope&ns all note the rapidity with wnich, m Canada, the seasons change. 128 English Literature. When they wake in Paradise.~An allusion to the resurrection of the saints. s. 6. He told them of the Algonquin braves. ~Donna.cona, an Algonquin chief treated Cartier quite generously, but was rewarded by being carried off to France as a prisoner. In every living thing.— This pantheistic idolatry is a mark of the Ignorant and uncivilized. Wonders wrought for them.— The reference may be to physical cures, but rather to the spiritual effects of the preaching of the gospel. '^ " III. EXERCISES, I. Object : To make sure that the pupil understands the gen- eral meaning of the poem. I. Write out suitable titles for each stanza : [i, the Departure ; u, The Anniversary of the Departure ; iii, The Return ; iv to vii The Report, including a description of the country in winter (IV) ; and in summer (v) ; and of the people (vi) ; and of the St Lawrence, the chief physical feature of the country, and his doings on its banks (vii),] ^ 2. What feelings mark each stanza ? [Sadness in i, ii ; joy in m ; sadness in iv ; joy m v ; sadness in vi ; joy in vii.] -,, 3- Tell from the poem (i) How long Cartier was absent; (2) The religion of the Indians ; (3) The scenery at Montreal ; (4) The position of the Key of Canada ; (5) The nature of Cartier's dealings with the Indians ; (6) The appearance of things in winter ; (7) The scene on the river in spring ; (8) The effect of summer; The character of the St. Lawrence; (10) The way in which the expedition was regarded by the French. II. Object: To emphasize some of the characteristics of poetry. Read the poem and note : (i). The number of lines in each stanza. Give examples of stanzas from other poems with more and fewer lines. ^ (2). The lines that rhyme. Select from the " Reader " poems in which the hnes rhyme alternately, irregularly. The vowels in the rhyming syllables; the consonants before the vowel ; those after the vowel. Are there any poor rhymes ? (3). The number of strong or accented syllables in each line. (4). Lines in which several words begin with the same sound How does this occurrence of the same sound affect you ? (5). The adjectives used, such as " smiling" in s, i, " shining " m s, IV. Are there many of such ? More than in prose ? (6), The comnarisons?- Wnnlrl thoc^ nr'^n^' in ♦^^ "> wtu-i- is their effect ? « Jacques Cartier. 139 (7). Any pictures presented in the poem ? (8). Any old-fasliioned words ? [Nitl^^^•;^"t X^//'^;;<1'°^ f- -^ Phf-e or whole sentence ? ^«../i„ .^^c^^^ rwT/o;' ?is o"cfasfoi'.r ^ ' " the extracts.'"'''' ' '^° ''""« ™' '°"= "' ">« P°^«^»l excellence ol ible?a wordTha^t wouirhVn'' 1'?""*' ^"bstitutmg, wherever feas. Attend especia, n„'?his regard" F'""" '" ^'f ,f ?' """^ "^^^ "ere. man," '• blast "" swent" m» ♦!. .^"^Port. "more," "kins- substitution ^ ^°*^ ""^ f°'" ""d •'eauty 'ost by the the wo^dfdlrl'^L'mThat'' o'f'S "°""« ".'"="' "'^ "^^^^ "' the difference occurs O'dmary speech, and decide why tri:z '° "'''''■" whetherha:i''yl'i;„'p';:rd"'r :^:^ wor^» »>,_K~_i.: _^ «• !.-->- .. and "arms." i 1 'i I Robert Burns. »33 Jf^move mountains.-ThAt is, make way in spite of them, as by steam^'o"^^^^^^^ "°^ '^^^^ ^'^ drills' and shovels driven by .^'^'''*''f'^f'^'''>'''-^^rns, without education, in unport^'c ongue and with unpoetic subjects, so considered, ^et pertonned the wonderful feat of raising tl)e level of poetic taste^and eel ing throughout the nation. This was the'^^mnch" mentioned above ; this largely made him a "considerable man- in the estimation of Carlyle, who judged men not by thei? havi^ig o? being so much as by their doing. [The Titans in ( ;reek mythofogy LTzeusir ^°°"^ ^"^ ^^^ ^'"^ ''^'^'"'* Uranus (Heaven^ Criticism...business -That is, tl::,t literary work is to be judged solely on is own merits ; that the critic should be untouc led by the warmth of feeling as he judges. ^ Interests and a#(fc/s.— Distinguish. n«nl''''-^'''-^-~^^t5*5'I' t^'^gedy as used here means a dramatic composition m which the reader is led first to admire the ch ef character on account of the possession of special vLtues and afterwards to pity him for the disasters which his own ermrs or f, Jl^ .''"^ /^^'-—Quoted from Aristotle's definition of tragedy ; sight.-' ^"^ somewhat, m the same sense as in a •• fear/ul Noble... perhaps greater.— Discuss this comparison throughout between Napoleon and Burns. Emerson saysV" There are th^^e orders of greatness, moral greatness, intelle^ct\ial greatness and greatness of action, Napoleon being th^ latter." In whrch respect was Burns great ? (See " Titan.") ^u wmcn respect Hopeless struggle.— For more than a year previous Bums fore- saw the end and tried to reform. Excellence., rarest.— The common theory of poetrv and fiction IS tha the writer should not represent things a^they are but as he thinks they should be. This is called idcallL ' Burns certamly idealized the Scottish peasant not so much by adS excellence as by dropping defects in his description.^ Not ^ w^^ir 'Vo^eiiyey^^^ ^'^ '''' ""''' "^ ^^ '" "--" ^^ aQ Sffl'-^ •;•''''' ^/ ^^w.^^-r^^* ^^^^ys consistent with himself, Te.n: t:Vr^'.Zt'ATu^^^^^^^^^ ". Though .o really free and independent he nriH<:»r> hi'Tno^nr ';„ being a reactionist and a Jacobite-on persistent sentimental '34 English Literature, ; i f?; adherence to the 'cause' of the Stuarts— the weakest, thinnest, most faithless, brainless dynasty that ever held a throne .''—Walt Whitman, Scenes.. .lived amongst.— See Fo, rth Reader, pages 97, 98, also "To a Mountain Daisy," " To a Mouse," etc. These scenes... emotions.— See the two poems just mentioned, the siibj. cts having been suggested by incidents while he was ploughing. Noble thoughts.-'' I never hear the loud, solitary whistle of the curlew without feeling an elevation of soul like the enthusiasm of devotion."— Letter from Burns to Mrs. Dunlop. Call of interest.— He was so sensitive as to refuse the offer of a London publisher to write for money. He wrote poems directly against the government while he was an officer of excise. ^ Susceptibility... affectation. —It is not clear why Carlyle should imply that these qualities are generally associated in poets. This wy^w^.—" Clearness, simplicity, truth." Why are these spoken of here as one ? Virtues, literary .—Snch as strength and beauty. Show if these depend on " honesty." Will a description of an ugly thing be beautiful because it is " honest " ? » .^ «» Virtues, moral.— This seems a Carlylean exaggeration of the value of honesty. Of what moral virtues is honesty the root ? What are some other virtues not connected with honesty ? III. BIOGRAPHICAL NOTE ON CARLYLE. ThomasCarlyle was born at Ecclefechanin Dumfriesshire, Scot- land, in the year 1795. His parents intended him for the ministry but during his university course at Edinburgh he decided other' wise, and, after graduation, employed himself in teaching for a few years Subsequently removing to Edinburgh, he began to sup- port himself by kterary work, meanwhile devoting all his spare time to the earnest study of German poetry and philosophy. He then translated various books from this language into English gaining considerable reputation thereby. ^ His most original work, '« Sartor Resartus," was now written, and, though he obtamed a publisher with difficulty, it was received with great approbatien by intellectual readers, at first in the United States and then in Great Britain. The fame this- work brought him led him to London, where he lived the remainder of his life, dying in 1881. From the. locality of his residence there comes the descriptive name often given him: "the sage of Chelsea." In London he wrote a history of the French Revolu- tion, the most striking historical work ever written. He next delivered several series of lectures; the most important of these Robert Burns. 135 il||iiij|jil»MI'°- b"' *h^ victor&ing w^th reasons ^"^ meaning which occurs to you. Someone says, " Into the first ei^>ht lines of this t>iece th^ nn.f a^l'''"^^/K'^u f ?P""'* °*" joyousness and confidence." Do Vou agree with that view ? State any other that might be taken. 138 English Literature, All last night.— '^ote the transition of feeling in the next eight lines, cither " from exultation to fear," as the above commentator thinks, or from misgiving to dark foreboding. We watched the beacons ! — Wliat were the beacons ? The teacher should describe the old method of signalling by fires on the hill-tops. Note the " each one bearing," etc., and point out how quickly, when everything was prepared beforehand, a mes- sage might thus be flashed hun^ ^^^^'^'"^^ ^"'^ ^"^"tioti tl.at he uiu nis sense of duty and disciphne nipei him, even then to rcornso '^nl .1 • ^'^^ I""''''''. ''' P'^'-^^K'i'aph, heKhmini', - Like the 5Lscrin?ionrn!,"i''' V' ^'if"" ^-^'^H^aiuting ? How would uic uescnption do as a subject for a painter ? EnK?ishtrcheS'"'lW,^^''''"',^"^J."^"^ ''' '^^he arrows of the tear er wouM d. f ' ''^T *'^^^ .'f'^=''"'" "^ ^^^^ ^^'^l^ers. The hL £r s me nMl *"/''^'^' ^? *''.^ '''^^^' "^ ^"""cction with fo ^^^^f""» some of the stanzas in the after part of r-inff^VT Notf * ' :^f;-i"i""'" i" -t»^^h the hattlo of IHo n s cU; c hid* Note hovv Scott brings out the way in which the archers held their bows aloft m cross.ng the Till, to keep them dry) thP^n J"''"^''^-~^^'^*. ^'^^'^^ '^ ^''y^ ^'°«^ this passage throw on the passages commencing, Who should bang, and Thm a mtZur? From the border sidc—Pooiic license or hyr)erbole It would be literally impossible. What is a burglu^r'? An inhaSnt Wharv5rblTnT"^'; f'-"'':''^^N .^''''^^ ^^ the derivation "fl;;* ?Sa me aT- !,Ko ..^' k'^ "^ ^^"" ''"° • ^^''^^^'•''^ the corselet. to wl?.t ^ /^'^"af ." a breast-plate of iron, extending from chin Clad in^ m^rJ:i ^T f'onounco.uuled ? What does it mean ? (Clad n mail, protected with an iron or steel glove.) Whence £k": fi': br^nd f ' wr? 'T'^ '''' ''^'''•' ' (!--» iti gleaSg! like a tire-l)rand.) What is the meaning of cowr/zt-^ ? ^ ^«^ rt// /:te mT^ /a^Afns.-Note the pathetic sug{restivenes<. of this and the following li.ie. Win, was he /V 1' f m rcS magistrate of the city, corresponding to our mayor). ^ ihSLff"^^''"'' -"f ^'''f^^'tly fame and chivalrous dcf^ree.-Siee nein o h'fQ^;rT'/ ^^>"^VPtions of what these epithets wou?d mean to the Scots of the period. - Few things are more full of beauty and poetry than knightlmod and chivalry. It is easy o awaken the interest of almost every boy or girl in them." ^ in fl^f« "f '"''^^"'-■^'f' « /o^'/«-«^.-Attention should be called to these strong metaphors, and the class led to see that thev are the natural outcome of intense emotion. This passagri^^^^ ."Oh, woeful " to the end, is a fine one for cxercis i^ t p S ,n attempts at vivid writing in pro«c reproduction ^ ^ ^ ' Right bitter.-Note the epithets used in the next thirty or forty i 140 English Literature lines and say whether you think them well chosen for the Doet's purposes, or otherwise, giving reasons if you can ^ Where no other shroud.— What do you understand by this? That she ever knew he/ore.~Do you see anything open to criti- cism in this expression ? What rhetorical figure in the last four ines and what do you think of its effectiveness ? Who speaks the lines, Randolph or the poet ? Note the despairing Ss those pricedinT""''''''^ "''' '''" '"'"'^^"^ "°^ lamentlt?on of III. BIOGRAPHICAL. hnrHh'^'Vi' i^dmonstonne Aytoun was himself a native of Edin- burgh, rie was born m 1813, was educated in the Edinburgh University studied law and was admitted to the Scottish bar at he age of twenty-seven. His tastes led him, however to uLra ture rather than to urisprudence, and five years later htwfc appointed Regius Professor of Rhetoric and bSs Le^?res L hi alma mater. He married a daughter of Professor Wilson /fh! famous "Christopher North " of Blackwood^smgale^^^^^^^^ DeQuincey, Southey ^d Coleridge), who, for more thS thirty years, filled the chair of Moral Philosophy in Edinburgh Univer^ L £ J^T-"""' Yi-'i' T';^^,* publication was histofical ° The Life and Times of Richard L," a well written work. Like his father-in-law, he too, was for many years a frequent contributo? to Blackwood, and for a quarter of a century he was consMered one of he most brilliant of the galaxy of men of genius who mide themselyes renowned through the pages of that maga^'nlAy^oun distinguished himself also as a humorist, his best%roducdon "n that field of hterature being '« How I Became a Yeoman:' ms poetical poems appear at their best in the "Lays of the Scottish Cavaliers " from one of which the extract which constitutes the lesson IS taken « Aytoun," says one biographer, " was a man of high and varied accomplishments, and hil genius shone to equal advantage m his humorous and in his serious contributions to Sr'4vF^^'^'? °^*t" '?y^'" ^•^- "Edinburgrafter Dundee" w^h! ??^'f T.k^ ^°"*'°f '" " The Burial- March of Dundee The Heart of the Bruce," were thoroughly suited to Aytouns' genius. They struck a responsive chord in his cWval rous nature, and received from him sympathetic handling! Theh- stirring music, the fine glow of patriotism that pervades them and their martial spirit, make them a delight tS every heahhv young mind ; and, in spite of their pronounced J acobitismf they are as popular to-day as when ibey appeared forty years agi.''^ NATIONAL MORALITY. BY JOHN BRIGHT. amm ■^■^SBSSBBIB ■ '1 - '■ . ■ - ■' , * E; f^ ■ "^.■:-, .' Pi •> '<- ^fil^^^^^^^ t ■S Sl^^i^ ■'. ^^ii0r '^i-- .■#^ ^.y:.^ V- -^ _ -'^i ^p* & t JOHN BRIGHT. I. INTRODUCTORY. J^S the bnef abstract in our lesson deals with a special thought and IS tolerably complete in itself, it seems unnecessary to enter mto the general argument of the speech from which "*s quoted. Suffice it to say that the speech of which this admirable selection forms a part was dehvered in 1858, dur- ing the Palmerston regime, and was directed against the foreign ^? if/ D .P?:l"^erston and his ministry, which, in the opinion ..,.: bright and many others, intermeddled quite too much wiin me aifairs of other nations, thereby tending to involve Great JSntain in hostilities with foreign powers, as in the Crimean 141 I4a English Literature. and^Chinese wars, which had but recently been brougnt to a character is Hhin^ .V fir! ^ ''^"" ^^ '" ^^^« individual, the power, the pre:t ge ofihe nadrlroTVl '^^^ P°--«--n«' the importance complred with w W f/ • • • *^^r ^^"' ^^^ ^^ "^inor aims, virtues and vices whir^n^ '' '" -l^'^'^' '" *^^ "^^^ives and tive character! ' "'^^^ "^ '*' essential and distinc II. ANALYTICAL. lessl^'read cI?l?u^llv°arI'd'intHr ^'ff' -^^ ^l^^^^' ^^ *° ^^^^ the comprehend and app?eci2it^^^^ °'^"' '^^^^^^ class may class have thus become7mhnpfl \ '^ ^^ ^ ^^°^^- ^^-^^ ^^^ thought and spirit rtmnvhrfb '°"'^ '^^*^''*' ^^^^ its general withlview^o^determi^^^gth^'serar^^ posed, and their rflatmn. ♦„ separate parts o, ivhich it is coin- speaker Thus /J (hi % »°"^ another in the mind of the tLt the only rekl^eati',srf ennnciates the view military or any other Wndnf tT}'°" " "S'u"'' =>= <^'''""=' fr"-" that mihtary expSture shoiS |i T'- J ?■ '?™."'' '*«'='"«» , necessary to"^ thl matotenance oflnterT^ ^ordTl!? j"}*' *' against aggression, and so on. '"'^'^'"'l order and defence parIgt;rsi;!e^i4"e'b'y%SS1'i!d'wo*?l T^™"!" °" f '"« .-e may permit, and L n.:rbTne7Lir/,oX:'^t^.^7! me4e?'oVthtsodSro{FriS7r'''"'"--J°'?" ''"?" -« " trUen-?h1r^™S H"''?'^^^^^^^^^^^ to regard this as a reproaLhfand tere rathL"L'cr3^'"°"«l' than to avoid occasions fnr ,!,,^;i ■ """'^'^ mchned to seek happily once mSre 1 °an era of peace rreT'^T'- f « ^™ moral courage for a public man fnPn^l.-^? 1 *""* '"°™ mentin 1858 than it woui^t"dav^° fntct B?i.ht"" f? l^""' Soc?e.;'^"ttu/h"Vd^""^'''' "^ ''^'"S -"»b^-- the "?ea« fdnLdVhat'sodl?y." '°" ""' '^^'^ """ ">«y had acruS^ Greatness, TOoa-a.—Distinguish its meaning tautX^in^Zff„,7j;J:fo.%^P'?."i'7„„"P'- I' there any manytemsin the coMection? ' ^"""^ "'^ use of so National Morality. 143 these words seem fitly Comfort, contentment, happiness.— T)o chosen. Distinguish their meanings. The nation in the fo//^^^^. -Explain and justify. (Of course the many the masses, in every nation are the poorer cfasses who dwell m cottages. Bright evidently considers^hat - a man's rv^LllV^cclVTdpJ '-''' '' "^ ^-''^' ^-^^ *^^^ vieTbl chjSfh^ri^ht'^oSs''^*^ ^"' ""°"^^°"* *^« -^«f-I «.o^' *• ^^' i^'x!^"^-^:'""/ ''"^ ^/^y^O' /'"wrf^'^^.—Who would be the naSr^ 1 ^""?'"r^.*^ T'^" ^ ^o which class wSd Bright ba ed^ N^?"^L ^" what political principle is his admis ion modified. '^''^""^ "'^^ admission is guarded and The most ancient of profane historians.— (Herodotns) 5o'^/;m,/5 -Where were the homes of the ancient "scythians? oIcuDlns"'of'".^''/r"^.^?^"^^^" ^^ *"^^^ rather chan^he occupants of any distmct territory. So far as the term ,*« geographical it denoted a vast, indefinitraudahnost unknown region north and east of the Black, Caspian and Aral seas To Mars alone.—This is not strictly correct Herndnfn« ^% 'ts the tribe evidently referred to as wor hippin7ve^^^^^ and other deities, though Mars was their chief god. l'''>"(f:~'DescnheAQd distinguish from other kinds of swords well to point out, in regard to the first, the tremendous pTesen? force of the comparison there instituted, in view of the enormous expenditures of European nations of the present day in miSa?v equipments-an expenditure which is on a scale that wouwS seemed almost mcredible at the date of Mr. Bright^s address thirty years ago-and in regard to the second, the gLat chS wrought since that date by the extension of the frlnchise to millions who had then no political power. iranctnse to P. 297. / am speaking, too.— Whose are the " finer instincts •• and "purer minds " referred to ? What does Mr. Br ght mean by saying "these have not suffered," etc.? Are there anv tei^ln cies in the direction of a change ? ^ tenden- You can mould opinion.— Thh sentence is made obscure bv bad punctuation The construction and meaning would be made clear, and the whole would be more in Mr. Brtht's st '^ wertl? re-cast in sentences, and punctuated" as follows :-'' You can mould opinion. You can create political power. You canno" 144 English Literature. think a good thought on this subject and communicate it to vour neighbors; you cannot make these points topics of discussion in your social circles and more general meetings, without affecting nrf.ni^/"'^ speedily," etc Many minor points in punctuation are matters of taste, yet there are general principles in regard of thought ^ observance is of great importance m the expression Written for men alone.-Would you suggest any change in the position of the word alone ? Would only be the preferable word ? Uive some illustrations of the ambiguities arising from the use of tnese two words in wrong positions in sentences. wor^r^* ^"^ ^^^-i^^. -Define, and note again che happy choice of The great Italian.— Who ? (Dante). We have^ experience, ^^r.— Account for the repetition of words, and the omission of :onuectives. But we are not left.— What is the force of but ? ^The word 6m^ comes m rather unexpectedly. It seems to have been «5ug. gested by the word "wandered." One wanders from the right path for want of a guide. Probably the force may be that shown ^y s^ich a paraphrase as, « Our experience, gained through costly mistake, and wanderings, furnishes us with beacons and land- marks to guide us in the future, but we have a better and safer guiae. 1 here is, however, some ambiguity. The connection in the speaker s mnid may have been quite different. «« Seeing our costly mistakes, and knowing how far we have wandered, we may be disposed to despair of finding the right way, but we are not eft without a gmde." The use of the words "beacon" and " landmarks " favors the first view). Urim and Thiinniiim.—Explsiin. Or aculons.— Give the usual form. What strikes you as being the chief characteristics of Brighfs style, as seen in this c>+:act ? ^ «„w ^* a^^^^°^ labored, clear or obscure, simple or involved, quiet or florid, argumentative or didactic, chaste or rhetorical ? Does ^e use a larger or smaller proportion of words of Anglo- baxc ongm than the average ? Justify your answer by reference. in. BIOGRAPHICAL. It is impossible, in the space which can properly be given to a biographical note, to do anything hke justice to the lite of this noble Englishman. Students should be encouraged to read for themselves a history of his life, or, at least, a few of his more important speeches, if these are accessible. John Bright was born in RnpHrlole J Trin^'hi-'^ '"n tO-t ->.-i4 t i -u • r- ti- r" ----•"— ;'*^' i-ancaani_v, in ioii,ana died mere m i8aq. His family had been for generations Quakers and Non-Conform- National Morality. iac before'l!fh!?l^h- I'ut ^^^" ^ ^ *^^^ ^y *^ade. but a year or two menced hn^Jni^'"*^ ^^^ purchased an old cotton milUnd com° menced business as a cotton manufacturer. His sons were taken out r^h "f ""'.' ^' ^°,°" ^' *h^y ^^^'"^^ old enouXand wkh° common Fn^H^h'^^^'^?"^^^"^ ^'^ ^^°^« ^i^^' received only a common bnglish education before going to work with hiq faVLr He had no knowledge of the classifs, but hXd what « £S^^^ H«°^ ^^^ t?,fhoose between the two a as?e for good ?eaiLe' classic w/ cm '?hP''"^^^/ ^'^''' *"^ °° ^°"b' fearned i^cl; Shakespeare H "Th^T/° '^^^ ^ ^^^ °<^t appreciatS flow nf^ fh^ i,f^? *^^.' The dialogue spoils him, for me. The How of thought is not sustained. The style eoea to n Pri« »' Se'fo1,n^'^^^^^'•*^^^' * ^'°'^'' Quaker. ?ashirfivori?rpoe*t Smosrbvfh'/h^°^'°.Jf.^^^\S ^i"^' ^°^ <^°"Jd recite his pSems almost by the hour. When he first began to sneak on Temn*.r lTd\TcLtrjr''''''\'' *^^.^^y ^« »-^'- w'rite hl^speTcEe ; cnHr T I ^ *°u^ workman in the mill, who was an unsparing heart* he abandnn*'^^ ^^'""^^ ^°* ^""^^ possession of mind and neart, ne abandoned manuscript and gradually develooed thaf Teatf nST'7.''^^^ ^'^^^^"^^'^ "^i^h mad^ehimon'^eof t^^^^^ greatest, perhaps the greatest English orator of liis dav He first came to the front in politics in connection with M?' Cob! fit ;^' ?°^^^y.°^ate of the Corn Law movement. He was first elected to Parhament in 1843, as member for Durham In .rH tt years' whTn' i°^ ^^ 'fester, which' he'^Tepresentedlj? oppoS' S^ fh. p'''''^-*°'* this seat in consequence of his frf/ RW u ^ Russian war, he was immediately elected encv^S fL'^;.f?" S^'^'^r^ *° ^^P^^^^"* that WsSu. ency until his death. He did not care for office Hf» wao a E?nnr.rJ w J^^ ^^'^^ 7^^^ ^® withdrew because he could not support him (Gladstone) in the policy u;hich led to the war wkh Egypt and the bombardment of Alexandria. Throughout h^ whole career he was a consistent and powerful advocate of eveT^ kborine c a'sS'" "h'I? *-^"'^' *° '^^ enfrancWsement o7^^^^ eenerXfn h ^""^ }^% improvement of their condition, and IXectinV Frf T'^^^^ ^^^'iy ^"? 1^^^* "ght« f^'^ all classes and sections. Free trade, freedom of the press, financial reform the improvement of the condition of Ireland, disestablishmeTt* Si sXr/e an^dT"^ ^"/ °'^"*^°'^^ disabilitts'^lf extS^of Seir mosT'no .rfT'^'^^"'^''^"^^"*^ ^^^^^^ ^°"°d »n Wm one of meir most powerful and most consistent promoters. Most strenuously, and almost alone, he opposed the Crimean w^ Egyptian question, these two great statesmc^n afterwards h«caS« xuuy leconcilea, and on his death, Gladstone pronouncedi;^ eloquent^eulogy in the House of Commons. j?e.w. SHAKESPEARE. UAX MULLER. I. INTRODUCTORY. TX^HAT do you know about Shakespeare ? This question sug- gests the best preparation for the study of this lesson. Let the teacher ask it, not necessarily in so many words, but in substance, of each member of the class, carefully and patiently drawing out from each his or her conceptions of this prince of not only England's, but the world's poets. Should it be found that the members of the class have tolerably correct notions in reg'ard to him — that they not only know something about the place and time of his birth, and the leading facts of his life, but also have some correct conceptions of the nature, spirit, and power of his writings, have read or heard read at least the sub- stance of two or three of his great plays, and are prepared to 146 Shakespeare. j.j cS5* on* E^I?iI;^"'"'""■' "?■" ^■"'"f"' influence he has exer. hazy If they have no adequate conceptioS of the man h la h Im'h* ^""Y'' ^"^ *^^ "^t"'-^ ^"^J influence of hTsgreac p.?vV nrH^r ♦ ^ *u- T "^® "^^ ^^®" »n some measure suDnHed In ifcriV ^f^so°s xc, ci., en., and civ. from the Fourth Reader tself will m part supply the material for this. But if, iS addition the teacher can arrange to have them read one or Two of thj best plays or better still, can himself describe and InaTvze such -lays, reading choice extracts in their prope^placi and co^^^^^^^ tions, It is desirable that this should by all means be done Th^ one mdispensable preparation is. in a wordTS the class slill ^!:::^'^!^tSlJ^-- ^° Shaiespear'/^^i^sllfl^^ n sug- esson. but in tiently nee of found ons in ut the Fe, but t, and e sub- red to II. ANALYTICAL. The City of Frankfort.— Where is Frankfort ? nriJI^%T ^''^^'' ^ ^^^'^-^""' ^ "^^^'y as in her J. -Goethe was the pHsheVmanT?hr/8t'h'"^ V" "°^^ highly' gifted and I^com "Fanc^HVrfr. « '^^ century. Born at Frankfort in 1740 Faust (pronounce au as om in " loud!") was his greatf .t worked is one of the greatest dramatic poems in any language ' Who was Frederick Barbarossa ?-{Fredenck I., Emperor of Gemany. crowned at Frankfort in 1152. Barbarossk mea^nTRed. As the prouder wo«A.-n— Explain Muller's meanii . Should a city be prouder of a great poet than of a great emp . t ? H s(^ par^raph."'*"'''-^"* '°*° °°^ '^"^^'^'^^ *^^^ *^°"g^* °- ^^ «^d here^nexTTo rtelh/ ^P^^"°"°P«^ ShiV.er).~{ne was. as implied W"!; u yo^the, Germany's greatest poet. He was born in Wurtemburg in 1759. His greatest drama was " Wallenstein^ though he wrote many other finepoems. both lyiicd and dramatic ±.:±?^'" "°^'^ °° ^^^tory and philcsoW. and powerfui No mere classic. —DescTihe in your own language the gist of the 148 English Literature. contrast M tiller draws between Shakespeare and the classic poets whom he names. What we in Germany. — How is what Germany owes to Shake- speare to be read in the history of German literature ? (Shake- speare's influence is to be traced in the history and growth of this literature). Goethe was proud.— Sha.kespea.Te died in 1616. Goethe was born in 1749. How then could Goethe be a pupil of Shakespeare? Who is meant by "the poet of Stratford-on- Avon " ? Why did not the writer use his name instead of this round-about descrip- tion? / do not speak of the poet only. — Of what else does he speak? Were not the man and <^he poet the same ? How could he speak of the one without speaking of the other ? His art so perfect because so artless. — Explain. What is the figure of speech called ? (It is a species of oxymoron). / think of the man, etc. — Where does he get his knowledge of Shakespeare's large, warm heart and other admirable qualities ? (The answer is probably indicated in the next sentence — from his plays. Biographically our knowledge of Shakespeare is rather limited, and, though his contemporaries speak of him as kind- hearted and generous, the facts known from history would not certainly warrant such an eulogium. An interesting question then arises as to how far we are safe in judging of a man's char- acter from his writings. Facts could easily be adduced to show that it is not always safe, unless very keen insight is exercised, as many bad men have spoken and written fine sentiments. On the other hand it seems impossible that anyone not endov^ed with noble traits and moved by noble impulses could have conceived or written many passages in Shakespeare. Draw out the opinions of the class). ■And it is right, etc. — Express the meaning of this paragraph in your own words. What is its leading thought ? Are you pre- pared to accept the rule ? If we look at that small house. — What rhe+orical device is used in this short paragraph ? (Antithesis or contrast). What is the effect of the repetition of the word small ? What do the rhetori- cians call this device ? (It may perhaps be regarded as a species of epizeuxis). World-embracing, etc. — What do you think of the choice and suitability of these epithets ? Is their force increased or weak- ened by the repetition of the first word of the compound, world ? Is there any tautology in them ? Do they form a climax ? What is the lesson and what the blessing spoken of in this sentence ? Through the greai J iistivals. — Canterbury Cathedral, built at the Shakespeare. 149 ' ) Close of the sixth century, was for nearly a thousand years rich in rehcs, such as the bones of martyrs, St.Wilfred, St Dunstan etc to whose shrines annual pilgrimages were made, but the addition of Thomas A. Becket's remains to the list, in the very place which wa« the scene of his murder, added ten-fold to the fame of Cant erbury as a place of pilgrimage. A curious Mosaic pavement still remains in front of the place where Becket's shrine stooS-the shrine itself was demolished in 1538 and the bonesburned by order Kv?hT7 V^"t^"^. *"" stone steps which lead up to it are worn by the knees of countless pilgrims. For the sake of England.— Why for the sake of England ? How could England be benefited by a Shakespeare festival in Strat^ ford-on- Avon, one of its towns ? (See next sentence). In this cold and critical a^-^.— Criticize this sentence both as to Its form and as to its sentiment. In respect to form note (a) the exquisite choice of words, cold and critical, power, art, passion, etc. Could any one of the last three be substituted for another without loss, as c;.^., the poxver of admiring .? Give reasons for your opin- wh Note also the succession of clauses, without connectives What IS this called m rhetoric ? (Asyndeton). Point out any other instances of it m this address. What is its effect .? (The rhetorical effect is to fix attention upon each word, or as here phrase separately and distinctly, and not simply upon all as connected and conibmed, as the use of the connective would tend to do. Note, too, the parallehsm in the next sentences). That she can love,etc.~^' Love," '« admire," «< worship." Does this seem the best chmacteric order of these words .? Wliat chance would you suggest ? ^"rtuge With that nation.~Whatna.iion ? England as she is, or Eng- land as she will be when the prayer of the two preceding sen- pTefeding^; a'gr '"^'"^' * "^^'^^^^ ^^^^ paragra^rbutoL'o'n III. BIOGRAPHICAL. Frederick Maximilian, more commonly known as Max Muller one of the most distinguished Oriental scholars of this or anv aee' was born at Dessau, in Germany, in 1823. His father, Wilhelm Muller, wasa distingmshed lyric poet and student, and Professor of Literature in the gymnasium of Dessau. Max Muller was edu- cated by his mother, at home and at the gymnasium, and after- wards sudied at the University of Leipsic, where he devoted himself to the classics and to philosophy. At Leipsic he began the study of Sanscrit, and his first publication was a translation of the Sanscrit Hitopadesa, in 1844. In that vear he "'^nUo Bonn ; in 1845, to Paris; and in 1846, to England,' to'study philol- ogy and the oriental MSS. to be found in the libraries and muse- i f ISO English Literature. urns of those cities. During this time, and for a period of ten or ttn o"f ^MS?' ^",H^^^°*^d I'^t^^^ "^^inly to the s?u?y and colla- th. pf. V I' Zu^ ^^T^'^ *° *^^ publication of his translation of VedS pUab?^t1fi 7/ J"»r °"^^°^^ °^ *h^ four Sanscri »e^|^^ri- Sof^J^^fl±^&l£S t?th 'pr'o'fessSrshfo'' °"h!^«.'t^"^^ °' Dr Trithen. he wTeTectel East^' in Tftf. .nT.;- ^'^ /^^"Suages of the Seat of War in the in Tfi.o fn?f ^' i ^'^ ^^'*°^>^ °^ ^°ci^^t Sanscrit Literature^ in i«59, tully confirmed his reputation a^ nn*. r^f fi,^ f '. kindred subjects harve attracted the attention of scholars aTover the worid, and established his reputation as perhaps he.reatest of modern philologists. His views are marked by orieinaHtv InH ndependence and while his deductions from comparative nhlkf logy, especia ly those touching on questions oHhe origin ^^^^^^^ history of religious belief, are not in all respects acceptable to J. E. W. THE MERCHANT OF VENICE. FIRST AND SECOND READING. CHARLES LAMB. ■ I. INTRODUCTORY. ^S a preparation for class recitation, the pupil should be re- quired to read the lesson carefully at home in order to be able to answer any questions upon it. Before beginning the critical study the teacher should question his class on the matter of the lesson to assure himself that it has been thus prepared. Having made sure that the pupil knows the general outline of the selection, he should proceed to the minute study of its parts, sentence by sentence and paragraph by paragraph. He should enquire the meaning of words that nresent an difficult" ■ he^hcM drill the class in substituting their own words for those con- tained in the paragraph ; he should teach them to distinguish 151 I 152 English Literature. the meanings of easy synonyms, and change passages from direct to mdirect narration and vice versa. For example, in teachSg n«f n?Ji?°i?^?^'^P^ °.",P^^^ 3^7. some of the exercises he would naturally select are as follows : 1. Give other words that may be substituted for, *« prevailed upon, pressmg, takmg off, wanted, rephed, affected." 2. Make clauses of the following phrases, '• Upon Bassanio stiU pressing her." And then Bassino taking off his gloves "To make a merry jest ;" " Never to part with it. " 3. Make phrases of the following clauses, "When she saw her Bassanio again;" " That the counsellor should ask him." 4. Change to indirect narration, "Give me your gloves'"- "I will wear them for your sake. " & ^ » 5. How do the following words differ in meaning : " Esoied and saw, vowed and promised, teach and learn ? " Pupils should also be taught to give the subject of any properly constructed paragraph. This is often a difficult task for them, and require^ much practice. It may sometimes be facilitated by wntmg down a scheme of the paragraph under con- sideration. Elicit from them, by questions, what each sentence i°rf^J?ft^.nM k'^''*^^"''?^ If necessary) treats of, and place the an^wei s on the board. For example, take the last paragraph on page 314. In answer to your questions, get from the pupils a scheme of the paragraph something like the following : Sentence i. {a) Bassanio's confession of poverty. (6) Portia's graceful answer. {c) Her dispraise of herself. (d) Her acceptance of Bassino. (c) Her gift. Sentence 3. {a) Bassanio's broken words of iov. (6) His vow. "' With this scheme before them, they will more readily discern that the subject of the paragraph is '« The Betrothal of Bassanio and Portia ;" and they will be able to see how each part clusters around that central thought. This scheme can be preserved, and given to them afterwards as a skeleton on which to write an essay on '« The Betrothal of Bassanio and Portia." When the critical reading is concluded the whole selection should be read orally by the members of the class. The lesson can then oe utilized as material for compositions. 11. EXPLANATORY. a, — First Reading. p- 3JJ. One of the best condiHojied.—One of the best natured» best tempered man. aiuxcu, I The Merchant of Venice. 153 1 Courtesies. — Acts of kindness. The ancient Roman honor. — A spirit of honor was eminently characteristic of the ancient Romans. p. 312. Three thousand ducats. — The value of the Venetian ducat, m Shakespeare's day, was about $1.50. Catch him on the hip. — To have the advantage over him. This was a phrase used by wrestlers. Signior.— An Italian title of respect, equivalent to the English "Sir "or "Mr." Sufferance is the badge of all our tribe. — Patient endurance, like a badge, distinguishes us from all other races. p. 313. As like. — As likely. • If I break. — If I fail to comply with the conditions. With better face. — With less reason for being ashamed of it. Pretending kindness, and that, e/c— Pretending (that he wishes to show) kindness, and that, etc. Compare page 321, " Desired his opinion, and that," etc. p. 314. Break this day. — Fail to make payment on the day when the bond should fall due. If he will take it, so.— If he will take this friendship, well and good. Portia. — Portia, the wife of Brutus (one of the conspirators against Julius Csesar), is reputed to have been a woman of sur- passing excellence in the graces of person and of mind. p. 315. Broken words. — Words broken, or interrupted, by his emotion. Use your pleasure. — Do as you wish. Event. — Result, issue. b. — Second Reading. P. 321. She did nothing doubt. — She did not at all doubt. p. 322. How mercy was a double blessing. — What word should be used instead of " how " ? p. 323. To wrest the law a little. — To do violence to the law by altering it a little. A Daniel come to judgment. — A man equal to the prophet Daniel in point of wisdom is come to administer justice. p. 324. A wful expectation. — Notice the correct use of " awful " ; expectation filled with awe. The words expressly are. — The exact words are. Nor do not cut off. — The double negative is not now admissible, but is very frequent in Shakespeare. 154 English Literature. li l:i CK ^' 3>26. The difference of our Christian s/mV. —The duke pardons Shylocks life before he is asked to do so; Shylock would not pardon Antonio's life tliough often implored to do so. p. I2j.— Affected to be affronted .^Vveiended to be insulted. p. 328. Tax. — Accuse, charge. p. 329. A little scrubbed boy.—X wretched little stunted boy. A civil doctor. ~A doctor of civil law. My soul upon the forfeit. -Staking my verv soul upon the safe «f?ffi^K° iv^ ''"^^- ^?^^'^ *^^ strong pledge-Antonio had staked his hfe upon makmg the payment to Shylock on the appointed day. Here he risks much more than his life. III. EXERCISES. Write essays on the following themes : i. The Courtship and Marnageof Bassanio; 2. The Trial of Antonio; 3. The Ret^ ot cassanio. IV. BIOGRAPHICAL NOTE. Charles Lamb, the kind-hearted, self-sacrificmg poet and essayist was born in London in 1775. He was a son of Tclerk to one of the benchers ot the Inner Temple. From his earliest years he was an omnivorous reader, and before leaving school had almost read through an extensive library to which he had access At the age of seven he entered Christ's Hospital School. Here he had Coleridge for a school-fellow, and with him he con- tracted a life-long friendship. Though he was an ardent student an unconquerable impediment in his speech disqualified him for a school exhibition, and thus deprived him of his only chance of oJt|iJimg a university education. Taken from school at the ate of fifteen, he was set to work in the South Sea House; but in 1792 he received an appointment in the office of the accountant of the East India Company. In this office he labored faithfully tor thirty-three_ years, devoting his spare hours to his books, his pen and the society of his friends. He retired from the Company's service m 1825, on a pension of /450, and died in 1834. _ There was m his family the hereditary taint of insanity ; and in his twenty-first year he was confined for some weeks in a lunatic ajylum. A few weeks after his restoration, his beloved sister Mary m a tit of acute insanity, brought on by over-work and anxiety, stabbed her mother to the heart. She was confined in a lunatic asylum, and was soon cured of her awful malady On her recovery, Charles interceded with the authorities for her liberation, and anally secured her release by himself undertaking the responsibility of her safe-keeping. Biography furnishes no oaraiiel to the devofmn pvlnhif^H Kxr fhp Hrr-fK-i-'i- l-•-^ -"i? i j sister. In order to give her all his care he renounced a coveted alii Th the brc we suf on ind ces sue Grj jun Shj knc sub orij he] per The Merchant of Venice. I5S alliance with a young lady whom he appears to have truly loved. The care of his sister was the chief aim of his hfe. Whenever the premonitory symptoms of her recurring malady reappeared, brother and sister would go, hand in hand, with heavy hearts and weeping eyes, to some asylum where Mary remained until she had sufficiently recovered to return to his tender care. The only bio* on this thoroughly unselfish character is an occasional over-free indulgence in the use of tobacco and alcohol. His first appearance as an author, in 1798, met with little suc- cess. A volume of poems, a tragedy and a comedy, were all un- successful. He was more fortunate with his story of " Rosamund Gray, which is still a favorite with his admirers. " In 1807, in con- junction with his sister Mary, he wrote the series of " Tales from Shakespeare," and "The Adventures of Ulysses." But he is best known by his " Essays of Elia," a series of delightful essays on subjects of every nature. " Here, in a style ever happy and onginal, and with wit of the rarest and most pungent description, he has carried the short humorous essay to a point of excellence perhaps never before attained. " I. L. I E EXAMINATION PAPERS-EDUCATION DEPARTMENT. DECEMBER, 1890. Examiners: — J. E. Hodgson, M.A.; Thomas Pearce. I. A MONG the beautiful pictures ■'*• That hang on Memory s Wall, Is one of a dim old forest, That seemeth best of all; Not for \\.l>ed, the simset bent. Pur/'le-iiirtained, fringed with gold. Looped in many a wind-swttng fold ; ^ While for music came the play Of the pied frogs' orchestra; And, to light the noisy choir, Lit the fly his lamp of fire. I was monarch : pomp and joy Waited on the barefoot boy! Cheerily, then, my little man, Live and laugh, as boyhood can! Though the flinty slopes be hard. Stubble- speared the netv-motvn sward, Every morn shall lead thee t/u-otigh Fresh baptisms of the dew ; Every evening from thy feet Shall the cool wind kiss the heat: All too soon these feet must hide In the prison cells of pr'le. Lose the freedom of the sod. Like a colt's for work be shod, Made to tread the mills of toil. Up and dotvn in ceaseless moil: Happy if their track be found Never on forbidden ground; Happy if they sink not in Quick and treacherous sands of sin. Ah, tha-t thou couldst know thy joy, Ere it passes, barefoot boy! 1. State briefly in your own words the s bstance of the pre- ceding part of the poem. 2. What is the subject of lines 1-14, and of lines 15-34 ? 3. Explain fully the meaning of each of the italicized parts. 4. {a) Show that " pomp and .'oy waited on the barefoot boy." i6o English Literature. (^0 Explain why the poet utters the wish expressed in lines 1-4 and ni lines ^^ and 34. (c) Point out the bad rhymes in the above extract. II. Bassanio conferred to Portia that he had no fortune, and that his high birth and noble ancestry were all that he could boast of; she, who loved him for his worthy qualities, and had riches enough not to regard wealth in a husband, answered with a graceful modesty, that she would wish herself a thousand times more fair, and ten thousand times more rich, to be more worthy of him ; and then the accomplished Portia prettilv dispraised herself, and said she was en unlessoned girl, unschooled, un- practised, yet not so old but that she could learn, and that she would commit her gentle spirit t^ be directed and governed bv hiiu in all things; and she said : " Myself and what is mine, to you and yours is now converted. But yesterday, Bassanio, I was the.;ulyot this fair mansion, queen of myself, 'and mistress over these servants ; and now this house, these servants, and myself, are yours, my lord ; I give them with this ring : " presenting a ring to Bassanio. Bassanio was so overpowered with gratitude and wonder at the gracious manner in which the rich and noble Portia accepted of a man of his humble fortunes, that he could not express his joy and reverence to Hie dear lady who so honored him, by anything but broken words of love and thankful- ness ; and, taking the ring, he vowed never to part with it. 1. What is the subject of the foregoing paragraph ? 2. Give a brief account of (a) the events that preceded those narrated in the above extract ; and (b) how Bassanio kept his vow never to part with the ring. 3. From what you have read in '• The Merchant of Venice," give reasons for believing (a) that Portia had a "gentle spirit ; " and (0) that Bassanio had " worthy qualities." 4. Explain the meaning of each of the italicized parts. 5. Explain how it is that the author describes Portia as "accomplished," and she speaks of herself as an " unlessoned girl, unschooled, unpracticed." Why does Portia address her lover as "Bassanio" in line 15, but as " my lord " in line 18 ? III. Quote any one of the following The last three stanzas of '' To Mary in Heaven." " The Three Fishers." The last tv,-o stanzas of " Picture-, of Memory." d in lines tune, and he could , and had red with a ind times re worthy iispraised »cled, un- I that she veined by ) mine, to lio, I was ress over d myself, :senting a gratitude ind noble he could ■ who so thankful- it. le above e ring. Venice," •ortia as lessoned ' in line