hinn Bun 
 
 .ifciVi 1 1 It an^- Coin 
 
IN MEMORIAM 
 BERNARD MOSES 
 
LESSONS IN ENGLISH 
 
 BASED UPON 
 
 PRINCIPLES OF LITERARY INTERPRETATION 
 
 A MANUAL FOR TEACHERS OF ALL 
 GRADES, WITH LESSONS FOR PUPILS 
 OF THE FIRST AND SECOND GRADES 
 
 BY 
 
 W. H. SKINNER 
 
 LATE SUPERINTENDENT OF SCHOOLS, NEBRASKA CITY, NEBRASKA 
 AND 
 
 CELIA M. BURGERT 
 
 STATE NORMAL SCHOOL, STEVENS POINT, WISCONSIN 
 LATELY SUPERVISOR OF PRIMARY SCHOOLS, BEATRICE, NEBRASKA 
 
 SILVER, BURDETT AND COMPANY 
 
 NEW YORK BOSTON CHICAGO 
 
BERNARD MOSES 
 
 COPYRIGHT, 1902, 
 
 BY SILVER, BURDETT AND COMPANY 
 
INTRODUCTORY NOTE 
 
 THE accompanying work was prepared by Superin- 
 tendent Skinner and his coadjutor two years ago, and 
 would have been issued earlier but for the untimely 
 death of the former of these persons. Mr. Skinner 
 was a gifted and progressive educator, and had proved 
 himself signally successful in reaching young minds 
 with subjects and instruction generally considered far 
 beyond their years. He demonstrated that nature 
 work with the microscope was practicable for pupils 
 in the earliest grades. He introduced new and suc- 
 cessful features into almost every primary and gram- 
 mar year. His latest success was won in adapting to 
 the first years of primary work modes and tasks in 
 literary interpretation which are used in secondary and 
 higher instruction. 
 
 This manual is largely a compendium of results 
 obtained by Miss Burgert, under the supervision of 
 Mr. Skinner, in administering the instruction called for 
 in the attempt last named. The success of the ex- 
 periment was so immediate and remarkable that the 
 teachers of Nebraska and other states were anxious to 
 have the material and method cast in a form practica- 
 ble for use in their own schools. Mr. Skinner re- 
 sponded to this demand by editing and compiling the 
 most suggestive material from the classroom into this 
 
iv INTRODUCTORY NOTE 
 
 manual. It was projected to serve as an introductory 
 or method book to a series of school readers, upon a 
 new and comprehensive plan, that should supply all 
 needs in English work from the first primary through 
 the last of the grammar grades. The present volume 
 was laid aside till the other books should be at least 
 sketched out, but in this interim its author was stricken 
 with fever from which he did not recover. The work 
 remains, except for palpable errors and oversights cor- 
 rected, substantially as he left it. 
 
 This book is intended to put into elementary applica- 
 tion principles of literary study that have been used 
 in the University of Nebraska since 1890. It is the 
 earliest attempt to make those principles and methods 
 available for the quickening and ennobling of young 
 minds. Its paramount object is the education of the 
 feelings ; of taste before the intellect, instead of the 
 intellect before taste. I am glad, by the present word, 
 to introduce this handbook of my valued friend and 
 pupil, and to certify to the correctness of the adapta- 
 tions undertaken in it, having confidence that, with 
 ordinary diligence and faith in the teacher, it will do 
 its work. 
 
 L. A. SHERMAN. 
 
 THE UNIVERSITY OF NEBRASKA. 
 
PREFACE 
 
 IN its method of presentation this manual is intended 
 for teachers of all grades. The lessons and selections 
 are especially adapted to pupils of the first two grades, 
 although they can be used to great advantage with 
 other classes that have not had the work. Every lesson 
 and every selection have been tested with pupils of the 
 first grade. 
 
 The poems used in the exercises are mainly such as 
 refer to nature. The aim has been to select subjects that 
 lie palpably within the child's experiences and interest. 
 Poems of fancy and intellectual gems have not been 
 included, because they are less effective in first inter- 
 pretative studies, and because they do not need so much 
 attention in early years. The stories have been con- 
 densed into "effect" elements as much as possible, in 
 order to give the children a chance to think for them- 
 selves. They contain many " character hints " be- 
 cause of the literary as well as the moral value of 
 such materials. 
 
 The presentations of the several principles have been 
 made in the form of accurate reports of recitations as 
 conducted in a school of first-grade pupils. Hence the 
 reader may judge from original exhibits or " sources. " 
 By this means also, many details of presentation have 
 been included which could not have been set forth in 
 any other way. The reported recitations should be 
 studied closely, since, like all original sources, they 
 
vi PREFACE 
 
 offer much by way of suggestion. It will be noticed 
 that the plan of work has the following especial 
 features : 
 
 1. Literary interpretation is made the basis for ac- 
 quiring language. 
 
 2. The pupil is employed upon matters that lie 
 within his experience and that are adapted to arouse 
 his interest. Questions like " What does this call to 
 your mind?" make the subject his own. 
 
 3. The pupil is made to appreciate the emotion- 
 content, as well as the idea-content, of words, of phrases, 
 and of the other and larger elements of expression. 
 
 The method is an adaptation of the interpretative 
 system of studying literature, originated by Dr. L. A. 
 Sherman, of the University of Nebraska, to whom the 
 authors are indebted for principles and ideas and for 
 advice and inspiration. The adaptation of college 
 methods, which is here presented, is the outcome of 
 several years' experiment and study, and has been 
 variously tested, in many schools of the country, with 
 gratifying success. 
 
 The selections, The Violet and Snowflakes, by Lucy 
 Larcom; November, A Fable of Cloudland, and The 
 Story of a Blackbird, by Alice Gary ; portions of Don't 
 Give Up, by Phoebe Gary ; and We Thank Thee, by 
 Ralph Waldo Emerson, are used by arrangement with 
 and permission of Houghton, Mifflin and Company, the 
 authorized publishers of the writings of these authors. 
 Acknowledgments for the use of selections printed by 
 permission of other publishers accompany the selections. 
 
 W. H. SKINNER, 
 CELIA M. BURGERT. 
 
CONTENTS 
 
 PAGE 
 
 SUGGESTIONS TO THE TEACHER xi 
 
 PART I 
 PRINCIPLES OF INTERPRETATION 
 
 CHAPTER I 
 
 "EFFECTS," OR "HINTS" 3 
 
 Definition and illustrations Outline of these Other 
 divisions of the same Suggestions How to make 
 lessons in "effects" First step in teaching "hints" 
 Second step Third step Fourth step Illustra- 
 tive lessons. 
 
 CHAPTER II 
 
 EMOTIONAL WORDS AND PHRASES 22 
 
 Definition and illustrations The emotion-content of 
 words Illustrations from Goldsmith, Gray, P. B. 
 Marston, Tennyson Two compositions from pupils of 
 the fifth grade Suggestions Some lessons from the 
 lowest class of the first grade. 
 
 CHAPTER III 
 
 THE STUDY OF METAPHOR AND TYPES .... 33 
 Illustrations of how and why we use types The type a 
 fundamental principle in expression Some lessons on 
 metaphor, given with children of the first grade Some 
 compositions from pupils of the lower grades, involving 
 the use of types Caution against the cultivation of 
 cant. 
 
viii CONTENTS 
 
 CHAPTER IV 
 
 PAGE 
 
 THE THEME 38 
 
 Its importance Leading pupils to interpret the theme 
 Caution against "preaching" the theme at children 
 Showing how to adapt some poems so as to give the 
 pupils a chance to interpret Difference between dis- 
 section and interpretation " Analysis " too often noth- 
 ing more than mechanical pulling to pieces. 
 
 CHAPTER V 
 
 POSES AND PICTURES 41 
 
 Three things involved in the simplest description The 
 first step The second step Pose No. I. Variety of 
 expression Illustrative lesson Third step More 
 complication Pose No. II. Suggestions on form 
 Fourth step Pose No. III. Imaginative description 
 Study of effects in pictures " A Helping Hand," by 
 Renouf "Adrift" " A Fascinating Tale," by Mme. 
 Ronner Laws of composition How to employ them. 
 
 CHAPTER VI 
 
 SUGGESTIONS ON TEACHING THE FORMS . . . -51 
 Necessity of special drills Keeping list of pupils' mis- 
 takes Lessons on singular and plural forms of verbs 
 and nouns On use of a and an On tense forms. 
 
 PART II 
 SELECTIONS AND STUDIES 
 
 FOR STUDY OF "EFFECTS," OR "HINTS" . . . -57 
 FOR STUDY OF EMOTIONAL WORDS AND PHRASES . . 96 
 FOR STUDY OF METAPHOR AND TYPES . . . .123 
 FOR STUDY OF THE THEME 129 
 
 INDEX 149 
 
ILLUSTRATIONS 
 
 FACING PAGE 
 
 POSE No. 1 16 
 
 POSE No. II. 24 
 
 POSE No. Ill 36 
 
 POSE No. IV 40 
 
 ADRIFT 44 
 
 A HELPING HAND 48 
 
 A FASCINATING TALE . . 52 
 
SUGGESTIONS TO THE TEACHER 
 
 1. READ the theory of each subject and study the 
 illustrative lessons, then go back and read the discus- 
 sion more carefully. The illustrative lessons are the 
 actual exercises as given in primary classes under aver- 
 age conditions. In a few cases illustrations have been 
 presented that were not reports of class recitations, but 
 these are specified clearly and are very brief. Hence 
 the teacher may rest assured that she is seeing work 
 that has actually been done. 
 
 2. Observe the emphasis placed upon oral composi- 
 tion. In all the lower grades this should have prece- 
 dence. In the latter half of the first year some written 
 work may be given. From that time on, the written 
 work should be gradually increased and broadened. 
 The most of our language " composition " in life is oral, 
 not written. 
 
 3. Do not begin the study of emotional words and 
 phrases until the pupils have done considerable work in 
 "hints." In the first grade, half a year should be given 
 to work in " hints" before taking up the emotional 
 words. 
 
 4. Note what is said about holding pupils to correct 
 logic in "effect" work, especially when they select or 
 prepare " effects " for the teacher to interpret. 
 
CHAPTER I 
 
 EFFECTS OR HINTS 
 
 I 
 
 THE most important part of reading is the getting of 
 the author's thought and feeling. To do this it is neces- 
 sary to study what are called " Effects." The best 
 writers do not give us both the cause and the effect. 
 They give the effect only, and expect us to interpret the 
 cause by inference. Therefore it becomes necessary to 
 teach the child to interpret effects, and to develop his 
 power of inference. 
 
 In lower grades we call effects " hints." 
 
 Of these effects we may make three divisions, viz. : 
 Effects of Incident, of Mood, and of Character. 
 
 (a) An Effect of Incident tells that something has 
 happened, may happen, or will happen; or it may be 
 that some state or condition is set forth. 
 
 For example, I see a man leaning on his rake while 
 he holds his hat and wipes his forehead. This tells the 
 time of the year ; also that the man is both warm and 
 tired. 
 
 On the street car I see a man with a little toy carpet 
 sweeper. 
 
 What does that tell ? What tells it ? 
 
 3 
 
4 LESSONS IN ENGLISH 
 
 '(b) An Effect of Mood tells us the mood or feeling 
 of a person, or perhaps of some intelligence below the 
 human. 
 
 A little girl, while playing on the sidewalk, sees a 
 large dog. She screams and runs to the gate. 
 
 What do her scream and running tell you ? She is 
 frightened. What has caused the child at some time 
 to fear a dog ? 
 
 A mother with white face and clasped hands kneels 
 by the bedside of her moaning child. 
 
 What is the mood of the mother ? What tells it ? 
 
 (c) An Effect of Character tells some trait of char- 
 acter, or, it may be, the whole character. 
 
 For example, You hear one child say to another, 
 " I don't like you because your clothes are all patched." 
 Are you not able to read that child's character from 
 her one sentence ? 
 
 Sitting opposite me in the car, I saw an aged gen- 
 tleman. He wore on his vest, over his heart, a gold 
 pin with a black enamel border, on which was engraved 
 the word, Myra. 
 
 I saw him only once, but that pin told me of his 
 constancy, and of the pride he took in that constancy. 
 
 That "effect" showed those traits of character as 
 plainly as long years of acquaintance could have 
 done. 
 
 This division of " effects" is all that need be given in 
 
 the lower grades. In fact, the important thing is not 
 
 the classification of " effects," but the interpretation of 
 
 them. This fact the teacher should keep scrupulously 
 
 in mind from beginning to end. But in order to do the 
 
EFFECTS OR HINTS 5 
 
 best work, the teacher should know something more 
 than the simple divisions set forth above. Hence we 
 give a more complete outline. 
 
 OUTLINE OF EFFECTS 
 
 1. Effects of Kind. 
 
 Of Incident. Direct Effects. 
 
 Of Mood. Second-hand. 
 
 Of Character. Negative. 
 
 2. Effects of Degree. 
 
 (Subdivisions the same as under Kind.) 
 
 It is well also to subdivide incident effects into the 
 following classes : 
 
 1. Those that tell time. 
 
 2. Those that tell place. 
 
 3. Those that tell what happened. 
 
 4. Those that tell some state or condition concerning 
 a person or a thing. 
 
 You will notice that sometimes there will be an over- 
 lapping of effects. Any effect is to a certain extent an 
 incident effect. In cases of overlapping, take the more 
 important characteristic as the naming characteristic. 
 Remember that the important thing is the interpretation 
 of the effect and not the classification of it. 
 
 In the lesson, The Lost Pztrse, p. 17 below, we have 
 Effects of Kind of Incident, of Kind of Mood, and of 
 Kind of Character; also, of Degree of Mood, and 
 Degree of Character. 
 
 Effects of kind of incident reveal to us nothing more 
 
6 LESSONS IN ENGLISH 
 
 than some particular happening, or the specific state or 
 condition of some object of interest to us. In the first 
 sentence of the lesson referred to, the incident effect of 
 kind makes us know, by imaginative inference, that the 
 purse has slipped from the hand of a person carrying 
 it, and that this person was a lady. Were the writer of 
 the lesson intending to present an incident of impor- 
 tance enough to rank as one of degree, he would make 
 the thing found to have been a jewel case, or some- 
 thing that no one could have dropped inadvertently. 
 We should understand then, that there had been an 
 accident, or that the lady had swooned, and that in the 
 excitement of carrying her home, or putting her in a 
 carriage, the object that had fallen from her hands had 
 not been noticed. It will be observed, from this, that 
 an effect of degree includes the kind as well. 
 
 The difference between kind and degree of mood is 
 well illustrated, in one instance, by the children's 
 answers. The child who gave, " He wanted it pretty 
 bad," interpreted it almost as an effect of kind of mood. 
 Those who gave that the boy's wanting the purse so 
 badly made his eyes grow round and bright, interpreted 
 it as a degree effect to the fullest extent; and this is 
 the better interpretation. 
 
 The degree of character is well exhibited in the sec- 
 ond-hand effect found in the words, " I must give it 
 back, for Nellie will say it is the lady's." What 
 strength of character she must have possessed to have 
 influenced him in this way ! 
 
 In A Doctor of the Old School, the author sets forth 
 the degree of Doctor MacLure's unselfishness by means 
 of the following : 
 
EFFECTS OR HINTS 7 
 
 " Weel, doctor, what am a 1 awin' ye for the wife and bairn ? Ye 1 !! 
 need three notes [three pounds] for that nicht ye stayed in the hoose 
 an' a 1 the veesits." 
 
 " Havers," MacLure would answer, u prices are low, a'm hearing ; 
 gie's thirty shillings." 
 
 " No, a'll no ; or the wife 'ill tak ma ears off," and it was settled 
 for two pounds. 
 
 The effects we obtain of a person who is talking 
 or acting before us, or is so represented, are direct ef- 
 fects ; but the inferences we draw from him concern- 
 ing another, or third person, are second-hand effects. 
 
 For example, all the effects concerning Joe are direct, 
 because we read them from him himself. Those about 
 Nellie we get from him ; hence they are second-hand. 
 
 We find an excellent illustration of these in Brown- 
 ing's My Last Duchess. The duke reveals the duchess 
 by second-hand effects. He says : 
 
 " She liked whate'er 
 
 She looked on, and her looks went everywhere. 
 Sir, 'twas all one ! My favor at her breast, 
 The dropping of the daylight in the West, 
 The bough of cherries some officious fool 
 Broke in the orchard for her, the white mule 
 She rode with round the terrace all and each 
 Would draw from her alike the approving speech 
 Or blush, at least. She thanked men, good ! but thanked 
 Somehow I know not how as if she ranked 
 My gift of a nine-hundred-years'-old name 
 With anybody's gift." 
 
 The little girl who said, at the end of the lesson on 
 The Lost Pzirse, " I think more of him now than when 
 he picked up the purse," does think more of him now, 
 and not only because he has given the purse back, but 
 because she thought so ill of him at first. 
 
8 LESSONS IN ENGLISH 
 
 Shakespeare, in the first scene of Othello, makes us 
 think only of the "thick lips," "the extravagant and 
 wheeling stranger of here and everywhere," and the 
 " charms" that he may have used. But later on, when 
 Othello steps forth and controls a crowd of excited people 
 by the lifting of a hand, and we hear his explanation, 
 with Desdemona's, of how their marriage came about, we 
 forget the black Moor, and our imagination carries us 
 just as far to the other extreme. That is just what 
 Shakespeare meant to do, and what he was compelled 
 to do, in order to keep our sympathies with Othello in 
 the later scenes of the tragedy. Those of us who have 
 been prejudiced against a person before acquaintance 
 with him, and have afterward found that our prejudices 
 were wrong, have experienced this swinging of our 
 feelings to the opposite extreme and to the full extent 
 of our previous prejudice. It is human nature, and 
 great writers know how to play upon this phase of 
 human nature. An effect employed to do this particu- 
 lar service is called a negative effect. It negatives or 
 contradicts the real character or incident or mood. 
 
 The matter and the method of the work in effects are 
 sufficiently set forth in the illustrative lessons, and in 
 the studies which are given in the following pages. But 
 it will be well to speak particularly of one or two points 
 which need to be emphasized to the teacher. 
 
 First, require the pupils to be logical, or, if they are 
 illogical, lead them to see that they are so. For example, 
 if a child gives only a part of an effect for you to in- 
 terpret, be sure that you interpret it just so far as he 
 has given you sufficient data, and no further. See p. 13, 
 in Part II. of this chapter. 
 
EFFECTS OR HINTS 9 
 
 Again, there may be a tendency in the case of certain 
 pupils to see the worst side of human life, and to bring 
 in habitually those effects that declare evil character. 
 By cautious suggestion get these pupils to see effects 
 from the better side of human nature. There are folk 
 who " travel all the way from Dan to Beersheba, and say 
 it is all barren." These same people are apt to interpret 
 given effects as symptomatic of evil if they can, or, at 
 least, if there is any doubt. Teach pupils, in case of 
 doubt, to give the more charitable interpretation. Im- 
 press the common-law principle that a man is innocent 
 until he is proved guilty. In this work will be found a 
 good field for teaching logic and charity, as well as the 
 judicial habit of mind. 
 
 Finally, why do writers use effects ? For two rea- 
 sons. If the cause is obvious, it is a waste of time and 
 of the reader's mental energy to give the cause. Again, 
 effects arouse the mind of the reader to find the ade- 
 quate cause for the given effect. This gives pleasure 
 to the imagination. The reader thus enters into a sort 
 of partnership with the author, and becomes, as a con- 
 sequence, more deeply interested. 
 
 The greatest difficulty is to find material to work with. 
 Our Readers, as a rule, have been made for word-learn- 
 ing, and contain lessons poorly adapted to interpretation. 
 But from Sunday-school papers, and from juvenile litera- 
 ture of other kinds, a sufficient supply can be obtained. 
 It is true that many of these must be worked over ; 
 statements should be put into the form of effects, the 
 "padding" taken out where too much is told, and the 
 sermonizing cut out. The lesson will be found without 
 preaching. In this working over of material, the teacher 
 
io LESSONS IN ENGLISH 
 
 will obtain not only good material for pupils' use, but 
 also most excellent drill in composition for herself. 
 
 Below is given a short selection, first, as it was found 
 in the paper, and after that, in the form in which it might 
 be put to use in our interpretative work in reading and 
 language. 
 
 A HUNGRY BOY 
 
 A ragged boy sat on a doorstep, and began work on a slice of 
 bread. If you had seen him eat, you would have thought him a 
 pretty hungry boy. But he had only started his meal, when a little 
 dog came up, wagged his tail, and crouched beside him. " Wot 
 you want ?" said the boy. "This ain't no bone ; git." But he did 
 not speak cross, and the dog stayed. " Say, do you want this wuss 
 nor I do ? " The dog gave a quick bark, and the boy threw him the 
 rest of the bread. From The Olive Leaf. 
 
 Omitting the subject because it tells too much, and 
 rearranging the manner of statement and of presenta- 
 tion, we make it into the following form : 
 
 A ragged boy sat on a doorstep, eating a slice of bread. 
 He took great bites, and kept his mouth so full that he 
 only half chewed the bread. He had only started his 
 meal, when a little dog came up, wagged his tail, and 
 crouched beside him. 
 
 " Wot do you want? " said the boy. 
 
 The dog looked longingly at the bread and then at 
 the boy, and putting his head on the boy's knee, whined 
 softly. 
 
 " This ain't no bone ; git." 
 
 But he wasn't cross, and the dog stayed. 
 
 " Say, do you want this wuss nor I do ? " said the boy. 
 
 The dog gave a quick bark, and the boy threw him 
 the remainder of the bread. 
 
EFFECTS OR HINTS n 
 
 You may change the dialect, but, if you do, you 
 lose the effects that the dialect proclaims ; and they are 
 strong. The children will be all agog to descant upon 
 the boy's lack of opportunities and breeding, and they 
 will correct his grammar without being asked to do so. 
 By comparing the two forms of the lesson as given 
 above, you can see just why certain changes have been 
 made, and also get some idea as to what changes to make 
 in rewriting lessons, and how to make the changes. 
 
 II 
 
 SOME LESSONS IN THE FIRST GRADE 
 The first step. 
 
 Impress upon children what hints are ; not by defini- 
 tions, but by numerous examples. The following les- 
 sons were taken just as they were given to a class. It 
 will be seen that the teacher selected ordinary things 
 which had lately been seen. They were real, they were 
 fresh, they were of the children's environment, and the 
 children were in full sympathy with them. 
 
 Teacher. "The other day a little boy came to me, and said, 
 
 ' Will you please cut my apple in two ? ' What did that tell me 
 
 about the boy ? " 
 
 Pupils. " He was polite." " He wanted to give somebody a piece." 
 Teacher. " When I cut it, one piece was larger than the other. 
 
 I watched him when he went out. He gave the larger piece to a 
 
 little boy outside. What hint did that give me ? " 
 
 Pupils. " He was good." " He was kind." " He was not selfish." 
 Teacher. " I saw some girls make a playhouse of leaves out on the 
 
 playground, and a little boy came along and tore it down. What 
 
 did that tell me?" 
 
 Pupils. " He was a bad boy." " He was not kind." " He was 
 
 mean." 
 
iz LESSONS IN ENGLISH 
 
 Teacher. " This morning I saw one girl striking another on the 
 back. She struck her ten times, and then stopped. She counted 
 every stroke. What hint in that ? " 
 
 Pupils. " It was the other girl's birthday. 1 ' " She was ten years 
 old." 
 
 Teacher. " Yesterday I saw a little boy go up to a large dog, and 
 put his arms about the dog's neck. What did that tell me ? " 
 
 Pttpils. "The boy loved the dog." "The dog loved the boy." 
 " The boy was kind." 
 
 Teacher. " When the bell rang at noon, a little boy, instead of 
 falling into line in his order as he came, crowded in ahead of a little 
 girl. What did that tell me?" 
 
 Piipils. " He wanted to lead." " He was not polite." " He was 
 selfish." 
 
 The second step. 
 
 In such manner the teacher had been drilling the 
 pupils for several weeks. She had also been asking 
 them to interpret the effects in the stories she had 
 read to them. To-day she had given them a story, but had 
 not asked them to interpret the effects. But when she 
 called them to the language class, she said, " You may 
 tell me any hints that you saw in the story this morn- 
 ing, and you may also tell what the hint means." The 
 following will illustrate what was wanted and obtained: 
 
 1 . " The story said that the mother made the youngest daughter 
 do all the work. She was selfish. She liked the other daughter 
 better." 
 
 2. "The story said that the little girl went to the fountain, and a 
 poor old lady came along, and wanted some water to drink. The 
 girl washed out the pitcher, and gave her some. She was neat, for 
 she washed out the pitcher. She was kind, and polite, too." 
 
 The third step. 
 
 The teacher said, " You may tell me a hint, and let 
 me tell you what it means. You may tell me one which 
 means that something has happened." 
 
EFFECTS OR HINTS 13 
 
 Pupil. " It is muddy all over the street." 
 Teacher. " It has rained. 1 ' 
 
 Pupil. " The clouds are getting thick all over the sky." 
 Teacher. " A rain is coming." 
 
 Pupil. "The green leaves of the cottonwood tree are turning 
 yellow." 
 
 Teacher. "The frost has come. Winter is coming." 
 
 Then the teacher called out effects of mood by say- 
 ing, "You may give me a hint that tells me how some- 
 body felt." 
 
 Pupil. " A little girl asked her mother to give her something to 
 do." 
 
 Teacher. " She was restless, and did not know what to do with 
 herself." 
 
 Pupil. " I see a boy leaning over the table with his elbows on 
 the table, and his head on his hands." 
 
 Teacher. " He is inattentive in class, and I am afraid he is a little 
 lazy." 
 
 The teacher next called for hints that tell the kind 
 of person. 
 
 Pupil. " I heard a boy calling a girl naughty names." 
 
 Teacher. " He is not kind, not polite, not a gentleman." 
 
 Pupil. "I saw two boys striking each other." 
 
 Teacher. " They were playing." 
 
 Pupil. " Their faces were red, and they had their teeth shut tight 
 together." 
 
 Teacher. "They must have been angry, they were probably 
 fighting. I'm afraid they are quarrelsome and naughty boys." 
 
 Notice that the teacher purposely interpreted the 
 effect as signifying less than the pupil meant, when 
 she said, "They were playing." The child had not 
 given an effect that was sufficient for the cause he 
 wanted assigned ; the teacher saw the faulty statement, 
 and made him see it clearly, too. It was a lesson in 
 precision. 
 
14 LESSONS IN ENGLISH 
 
 The fourth step. 
 
 In this, the teacher requires the pupil to classify the 
 effect before explaining it. The teacher should now 
 keep the following outline in mind : 
 
 (a) Hints that tell the kind of person. 
 () Hints that tell the feeling of a person. 
 (V) Hints that tell a happening. 
 
 What happened. 
 
 Where it happened. 
 
 W T hen it happened. 
 (d) Hints that tell the state or condition of a person or a thing. 
 
 This last one the children cannot classify except in a 
 general way. Notice in the following lesson how they 
 put it. 
 
 KIND DEEDS 
 
 One morning the sun found a little boy sleeping in a pile of brown 
 and yellow leaves by the roadside. 
 
 His clothes were ragged and soiled, his little face looked not only 
 dirty, but pale and thin. 
 
 A laboring man, carrying a lunch pail, passed on his way to work. 
 He stopped and looked at him, then left half of his lunch in the little 
 ragged cap. 
 
 Another man watched the workman until he had passed the cor- 
 ner, and then dropped a quarter in the cap with the lunch. 
 
 After a while a little boy carrying a slate came running along. 
 He stopped a moment, and then ran back the way he had come. 
 Soon he returned and laid a pair of shoes beside the cap. 
 
 Presently the boy awoke. When he saw the things that had been 
 given him, he put his face in his hands, and big tears trickled through 
 his fingers. Adapted from Morning Star. 
 
 " One morning the sun found a little boy sleeping in 
 a pile of brown and yellow leaves by the roadside." 
 
 Teacher. "What does that tell you? Does it tell the kind of 
 a person, or how some one feels, or that something has happened, or 
 where it happened, or when it happened?" 
 
EFFECTS OR HINTS 15 
 
 Pupils. "It tells that something has happened. 1 " "It tells the 
 time of day and the time of year. 1 ' 
 
 Teacher. " What does it tell has happened ? " 
 
 Piipils. " The boy stayed there all night." " He made a pile of 
 leaves because they were soft." " He made a warm bed of leaves." 
 
 " His clothes were ragged and soiled, his little face 
 looked, not only dirty, but pale and thin." 
 
 Teacher. "What does that tell?" 
 
 Pupil. " It tells something about some one." 
 
 Teacher. "What does it tell about some one? " 
 
 Pupils. "He is poor, and is so hungry that his face is pale." 
 " He was so hungry and so weak that he got thin." " He is a little 
 beggar boy, and has no home." 
 
 " A laboring man, carrying a lunch pail, passed on 
 his way to work." 
 
 Teacher. " Does that tell the kind of a person, how some one 
 feels, or that something has happened, or the condition that some- 
 body is in ? " 
 
 Pupil. " It tells the last ; something about somebody." 
 
 Teacher. " What does it tell you about him ? " 
 
 Pupils. "The man is poor; he has to work to earn money." 
 
 "He isn't lazy." "He doesn't come home to dinner; it's too far 
 to walk. 1 ' 
 
 " He stopped and looked at him," 
 
 Teacher. " What does that tell ? " 
 
 Pupil. " That tells how somebody felt? " 
 
 Teacher. " How did he feel? " 
 
 Pupils. "He just thought that he would like to know what he 
 was doing there so early in the morning." " The man wanted to 
 know what he was lying down there for." " He just stopped to see 
 what was the matter." 
 
 "then left half his lunch in the ragged little cap." 
 
 Teacher. " What does that tell ? " 
 
 Pupil. " It tells what kind of a man he was." 
 
 Teacher. " What kind of a man was he ? " 
 
 Pupils. " He was a good man." " He was kind to the little boy." 
 
16 LESSONS IN ENGLISH 
 
 " Another man watched the workman until he had 
 turned the corner, then he dropped a quarter in the cap 
 with the lunch.'* 
 
 Teacher. "Tell all about that. 1 ' 
 
 Pupils. "That tells the kind of man." "He was good and 
 kind." "He didn't want everybody to know what he did." "He 
 wasn't as poor as the workman." 
 
 "After a while a little boy carrying a slate came 
 running along." 
 
 Pupils. " It tells something about the boy." " It tells the time 
 that something happened." " The boy was going to school." " It's 
 school time." " He's running because he wants to be there on 
 time." " Maybe he was running because he was chilly." 
 
 " He stopped a moment, and then ran back the way 
 he had come." 
 
 Teacher. " What does that tell ?" 
 
 Pupils. "That tells how somebody feels." "He wanted to see 
 what happened to the boy." " He felt sorry for the boy." 
 
 Teacher. "What makes you think he felt sorry?" 
 
 Pupils. " Because he ran back home." " He went back home 
 to get something or to get his mamma." 
 
 " Soon he returned and laid a pair of shoes beside 
 the cap." 
 
 Pupils. " That tells the kind of a boy." " He is a good boy." 
 " He is free-hearted." " He saw that the boy was poor, so he 
 brought him the shoes." " He was kind and wanted to make the 
 boy happy." 
 
 " Presently the boy awoke." 
 
 Pupils. " He is rested now." " He isn't sleepy any more." 
 
 "When he saw what had been given him, he put his 
 face in his hands, and big tears trickled through his 
 fingers." 
 
EFFECTS OR HINTS 17 
 
 Pupils. "How he felt." "He cried because he was happy. 1 ' 
 
 " He was so glad." " Because he was thankful." 
 
 Teacher. " What lesson can we learn from this story? " 
 
 Pupils. " If we see anybody that needs anything, to help them 
 
 all we can." " If one helps, others will." 
 
 THE PARTY 
 
 May Brown had a party. Eight little girls were there. While 
 they were playing there was a rap at the door. Two of the girls 
 went to see who was there. It was a little girl. She had no shoes 
 on, and her dress was torn. But her face was pretty. 
 
 <; Have you come to the party? " asked Bessie. 
 
 " I do not know what a party is," she said. "I came to ask for 
 something to eat." The little girl's name was Mary. 
 
 " I'll ask mamma to let her come to my party," said May. 
 
 When May's mamma saw the little girl, she said : " I know you 
 are a sweet little girl ! I'll give you some shoes and a nice dress, 
 and you may play with the children." 
 
 After a little while they had supper. 
 
 "Do you like ice cream?" said May to the little girl. 
 
 " I don't know," said Mary. When May gave her some, Mary 
 asked, " How shall I eat it?" 
 
 May showed her how. They had cake and candy and apples. 
 While they were eating Mary said, " How nice a party is." 
 
 When supper was over they played again. When the girls were 
 leaving, Bessie said to Mary, " You shall come to my party, too." 
 "And to mine," said all the girls. Adapted from Stickney^s First 
 
 Reader. [Published by Ginn & Company.] 
 
 (Incident.) 
 
 Teacher. " What hint in, ' She had no shoes on, and her dress 
 was torn ' ? " 
 
 Pupils. "She was poor and didn't have any shoes to wear." "She 
 didn't have any shoes or any whole dresses, and maybe she didn't 
 have anything to eat." "She is very poor." 
 
 (Character.) 
 
 Teacher. " What hint in, ' But her face was pretty ' ? " 
 Pupils. " She was neat and kept her face clean." " She was a 
 good girl. If she wasn't, she wouldn't look pretty in her face." 
 c 
 
i8 LESSONS IN ENGLISH 
 
 (Incident.) 
 
 Teacher. "-'I do not know what a party is.' What does that tell 
 you?" 
 
 Pupils. " She had never seen one before." " She had never had 
 enough good clothes to go to a party." "Very poor people don't 
 go to parties." 
 
 (Mood.) 
 
 Teacher. " What hint in, * I came to ask for something to eat ' ? " 
 Pupils. " She is hungry." " She has no one to give her some- 
 thing to eat." " She must have been awful hungry to go to a party 
 and ask for something to eat when she was so torn." 
 
 (Character.) 
 
 Teacher. "What does this hint to you ? < I'll ask mamma to let 
 her come to my party.' " 
 
 Pupils. "May was a good girl." "May Brown was such a nice 
 little girl that she didn't care if she was poor, she'd ask her to her 
 party." " She thought the little girl had no father or mother and she 
 wanted to be kind to her." 
 
 (Character.) 
 
 Teacher. " What hint in, < I know you are a sweet little girl! I'll 
 give you some shoes and a nice dress, and you may play with the 
 children'?" 
 
 Pupils. " The mother was kind." " The mother was as good as 
 the little girl." " Because she was pretty in the face she saw she 
 was good." " She was kind, and wanted the little girl to have a good 
 time." 
 
 (Degree of Incident.) 
 
 Teacher. "What hint in, <I don't know'?" 
 
 Pupils. "She had never tasted any ice cream." "She was so 
 poor that they had no money to buy ice cream or make it." 
 
 (Degree of Incident.) 
 
 Teacher. " What does < How shall I eat it.' hint to you? " 
 Pupils. " She was never taught how to eat ice cream." " She 
 
 never went to parties, and never saw any ice cream and didn't know 
 
 how to eat it." 
 
 (Mood.) 
 
 Teacher. " What hint in, < How nice a party is '? " 
 
 Pupils, " She likes the candy." " She meant the cake, ice cream, 
 
EFFECTS OR HINTS 19 
 
 and everything was good." " She never had any good things like 
 that before." " She'd like to have a party." " She is having a good 
 time." 
 
 (Character.) 
 
 Teacher. " What hint in < You shall come to my party, too,' 
 6 and to mine,' said all the girls ' ? " 
 
 Pupils. "Bessie is a kind little girl." "All the girls liked little 
 Mary." " They are all good girls." " Mary was so good everybody 
 liked her even if she was poor." " She acted so nice at May's party 
 that all the little girls liked her so well they wanted her to come to 
 their party." 
 
 THE LOST PURSE 
 
 A pretty, brown purse was lying upon the sidewalk. 
 
 A little hand was ready to reach for it. 
 
 A pair of bright eyes were watching it. 
 
 They belonged to Joe, the newsboy. 
 
 " That is a fine purse," he said. " I'll get it when she's out of 
 sight." 
 
 Just then the store door closed behind the lady. 
 
 "Now's my chance," said Joe, and he hurriedly picked up the 
 purse. 
 
 " My ! but you're a daisy, and you're heavy, too," he said. " I'll 
 take you home to Nellie. Now she can have her crutch. 
 
 " Her eyes will shine and she will clap her hands when she sees 
 you. , 
 
 " She will say, < O Joe, you are so good ! Where did you get it ? ' 
 
 "And then what shall I tell her ? 
 
 " She will be sorry if I tell her where I got it. I must give it 
 back, for Nellie will say it is the lady's." 
 
 Joe pushed open the heavy door and walked slowly down in front 
 of the first long counter. He stood close to the lady in brown and 
 said in a low, trembling voice, " This is your purse. I picked it up 
 from the sidewalk." 
 
 Teacher. " What hint in, < A pretty, brown purse was lying upon 
 the sidewalk'?" 
 
 Pupils. " Somebody lost it." "A lady had dropped it, because a 
 purse is a lady's pocket-book." " It must have been down town." 
 
 Teacher. " What hint in, < A little hand was ready to reach for 
 it'?" 
 
20 LESSONS IN ENGLISH 
 
 Pupils. " The little hand wanted to pick it up." "It was a child 
 
 that wanted it." 
 
 Teacher. " What does ' A pair of bright eyes were watching it, 1 
 
 tell you ? " 
 
 Pupils. " The child wanted it." " The purse was pretty, and the 
 
 child wanted it." " If they were bright eyes they were blue." " He 
 
 wants the pocket-book awful bad." 
 
 Teacher. " What hint in, * They belonged to Joe, the newsboy ' ? " 
 Pupils. " He's poor." " He carries papers to get money." 
 Teacher. " What hint in, ' That is a fine purse ' ? " 
 Pupils. " He is glad that he has found it." " He wants it awful 
 
 bad." 
 
 Teacher. " < I'll get it when she's out of sight.' What hint ? " 
 Pupils. "He wasn't a good boy." " He's going to wait till the 
 
 lady won't see him." " He's not honest." " He's a coward, or he 
 
 would give it to the lady." " He's a bad boy, I think." 
 
 Teacher. "Just then the store door closed behind the lady." 
 Pupils. " She's just gone into the store." " She's going to buy 
 
 something. Then she will miss her purse." 
 
 Teacher. " t Now's my chance,' said Joe, and he hurriedly picked 
 
 up the purse. What hints ? " 
 
 Pupils. " He took the pocket-book." a He's bad, 'cause he stole 
 
 the purse." "He's sneaking, because he waited until no one saw 
 
 him." " He's wicked." " He hurried because he thought some 
 
 one else might get it." " He was afraid some one might see 
 
 him." 
 * Teacher. " What hints in, ' My ! but you're a daisy, and you're 
 
 heavy, too ' ? " 
 
 Pupils. " It must have had money in it, or something else." 
 
 " He was glad to get it." " It had money in it or it wouldn't have 
 
 been so heavy." "He thought lots of the pocket-book, and thought 
 
 it was nice, but he uses slang." 
 
 Teacher. " What hint in, ' I'll take you home to Nellie '? " 
 Ptipils. " He's kind to Nellie." " He was generous." " He was 
 
 thoughtful of Nellie." " He likes his sister." 
 
 Teacher. "What does this tell you, 'Now she can have her 
 
 crutch'?" 
 
 Pupils. " Nellie was a cripple." " Nellie is lame, and they are too 
 
 poor to buy a crutch for her." " He's not selfish." "He's thought- 
 ful of his sister and didn't think about spending the money for 
 
 himself." 
 
EFFECTS OR HINTS 21 
 
 Teacher. "What hint in, i Her eyes will shine, and she will clap 
 her hands when she sees you '? " 
 
 Pupils. " She'll be glad." "She's happy." "Maybe if he had 
 no sister he wouldn't have taken it. He wanted to help her." 
 
 Teacher. " What hint in, O Joe, you are so good ! Where did 
 you get it ' ? " 
 
 Pupils. She'll be so glad." "She liked Joe." " She wants to 
 know all about it." 
 
 Teacher. " What does this tell you, ' She will be sorry if I tell her 
 where I got it'?" 
 
 Pupils. " He begins to feel sorry about himself." " He'll be 
 afraid to tell her he stole it." " He has done wrong, and he just 
 thinks about it." " He doesn't want to tell her he stole it, because 
 he thinks it will make her feel bad." 
 
 Teacher. " What hints in, * I must give it back, for Nellie will say 
 it is the lady's'?" 
 
 Pupils. " She is a true girl." " She is honest." " She'll be sorry, 
 because she is an honest girl, and she doesn't want him to steal." 
 " He's going to be good." " He's going to be honest because his 
 sister would want him to be." " Nellie is going to make him honest." 
 
 Teacher. "What hint in, i Joe pushed open the heavy door'? " 
 
 Pupil. " It's a big store." 
 
 Teacher. " What does his walking slowly tell you ? " 
 
 Pupils. " He's afraid." " He's sad because he has stolen." 
 " He's sorry to give it back after he has taken it. He's ashamed of 
 himself." "He went slowly so he could find her." "He doesn't 
 want to give the purse up." " He didn't know what to say when he 
 got there, and he's walking slow to try to think." 
 
 Teacher. " What hint in his standing close to the lady and speak- 
 ing in a low, trembling voice ? " 
 
 Pupils. "He's afraid." "He feels cowardish." "He doesn't 
 want other people to hear him." " He's sad." " He was sorry he 
 picked it up." "He's good now." "His sister made him good 
 because she was so good." 
 
CHAPTER II 
 
 EMOTIONAL WORDS AND PHRASES 
 I 
 
 HAVE you never caught the odor of wild-grape bloom 
 in spring, and experienced a flash of memory that 
 brought back another time and place, far away, it may 
 be, but full of tender associations ? Have you never 
 seen a landscape that recalled another, similar but 
 dearer? And have you not noticed that pictures of 
 landscapes have the same power to reproduce the past, 
 though more faintly ? And sometimes you can close 
 your eyes before the picture, and go over those scenes 
 again as you did when a child. There is the path lead- 
 ing from the home across the blue-grass field, where the 
 cattle grazed lazily in the June-time. There are the 
 woods which it skirted, and there the old mountain field 
 through which it ran, and beyond are the deeper woods 
 that covered the mountain nearly to the top. And here, 
 where the path ran up the hill from the little ravine, is 
 the large rock standing close beside it, moss-covered 
 and reft. Here you used to stop and sit, not so much 
 to rest as to see and to feel the landscape which ex- 
 panded below you. At that slight suggestion the mind 
 has made a great leap through time and space. 
 
EMOTIONAL WORDS AND PHRASES 23 
 
 " Yon cloud with that long purple clelt 
 
 Brings fresh into my mind 
 A day like this, which I have left 
 Full thirty years behind." 
 
 WORDSWORTH. 
 
 And along with these scenes come the experiences 
 that are associated with them. You feel again the 
 joy of life somewhat as you felt it on that summer 
 day when you fished or strolled along, the lazy stream, 
 while the bobolink sang in the tree overhead. Such 
 memories are to the soul what the Indian summer is to 
 the fall. 
 
 Words also have the power of recalling experiences, 
 not so much power as they ought to have, but that is 
 our own fault. Very few people are quite sensitive to 
 the full content of words. Ruskin was. Read his analy- 
 sis of a selection from Lycidas in his Sesame and Lilies. 
 We have been taught and are teaching that the mean- 
 ing of words is to be found in the dictionary. Only a 
 part of the meaning is to be found there, and not always 
 the most important part. The dictionary gives the idea- 
 content. But there is an emotion-content as well, and 
 this last the dictionary cannot give. The emotion-con- 
 tent is to be found in yourself, and is dependent upon 
 your experiences. Take each of the following words 
 or phrases, and recall some particular experience sug- 
 gested by each. You may have to think several min- 
 utes before you settle upon some definite experience. 
 Sometimes a word or phrase will suggest no experience 
 whatever. 
 
 silent night solemn stillness dewy dawn 
 lonely prayer roar 
 
24 LESSONS IN ENGLISH 
 
 Now turn to the dictionary, and compare the meanings 
 there given with the meanings these words have for 
 you. In the following extract from Goldsmith's The 
 Deserted Village select the words and phrases that have 
 large emotion-content for you : 
 
 " Sweet was the sound, when oft at evening's close, 
 Up yonder hill the village murmur rose ; 
 There as I passed, with careless steps and slow, 
 The mingling notes came softened from below ; 
 The swain responsive as the milkmaid sung ; 
 The sober herd that lowed to meet their young ; 
 The noisy geese that gabbled o'er the pool ; 
 The playful children just let loose from school ; 
 The watch-dog's voice that bayed the whispering wind ; 
 And the loud laugh that spoke the vacant mind ; 
 These all in sweet confusion sought the shade, 
 And filled each pause the nightingale had made." 
 
 Or take these lines from Gray's Elegy : 
 
 " The curfew tolls the knell of parting day ; 
 
 The lowing herd winds slowly o'er the lea ; 
 The plowman homeward plods his weary way, 
 And leaves the world to darkness and to me. 
 
 " Now fades the glimmering landscape on the sight, 
 
 And all the air a solemn stillness holds, 
 Save where the beetle wheels his droning flight, 
 And drowsy tinklings lull the distant folds." 
 
 Perhaps no simple lines are richer in emotional words 
 and phrases than Philip Bourke Marston's Thy Garden, 
 a few stanzas of which run as follows : 
 
 " Pure moonlight in thy garden, sweet, to-night, 
 
 Pure moonlight in thy garden, and the breath 
 Of fragrant roses. O my heart's delight! 
 Wed thou with Love, but I will wed with Death ! 
 
EMOTIONAL WORDS AND PHRASES 25 
 
 " Dawn in thy garden, and the faintest sound, 
 
 Uncertain, tremulous, awaking birds, 
 Dawn in thy garden, and from meadows round, 
 The sudden lowing of expectant herds. 
 
 " Light in thy garden, faint and sweet and pure ; 
 Dim noise of birds from every bush and tree ; 
 Rumors of song the stars may not endure ; 
 A rain that falls and ceases suddenly." 
 
 Note these especially : Pure moonlight, garden, breath 
 of fragrant roses, dazvn, faintest sound, uncertain^ tremu- 
 lous, awaking birds, meadows, sudden lowing, expectant 
 herds, light, faint, pure, dim noise, dim noise of birds, 
 bush and tree, song, stars, ram, ceases suddenly. 
 
 Keats, Shelley, and Tennyson are notable for their 
 emotional phrases. Select the words and phrases that 
 are full of emotion-content in the following lines from 
 Tennyson's Enoch Arden: 
 
 " The mountain wooded to the peak, the lawns 
 And winding glades high up like ways to Heaven, 
 The slender coco's drooping crown of plumes, 
 The lightning flash of insect and of bird. 
 The luster of the long convolvuluses 
 That coiled around the stately stems, and ran 
 Ev'n to the limit of the land, the glows 
 And glories of the broad belt of the world, 
 All these he saw." 
 
 Observe how he piles phrase on phrase, and produces 
 an ever-increasing picture of beauty, such as : crown of 
 plumes, drooping crown of plumes ; lightning flash, light- 
 ning flash of insect ; coiled, stately stems, coiled around 
 the stately stems. 
 
 It is self-evident that the person who is most sensitive 
 to the emotion-content of words will obtain the most 
 
26 LESSONS IN ENGLISH 
 
 pleasure from his reading, and, as a rule, the most profit, 
 other things being equal. It is then an obligation that 
 we train the child to think in the images for which 
 words stand, that he may have this sensitiveness for the 
 emotion-content of words. Of course, we do not recall 
 these experiences completely when we are reading. But 
 we do experience a certain vanishing pleasure from the 
 subconscious recalling of these images. For that reason 
 we experience pleasure in the reading of such selections 
 as the preceding. Some one, for the sake of burlesque, 
 and conscious of the pleasure produced by words taken 
 singly, or in even illogical phrases, has written the fol- 
 lowing amusing lines : 
 
 "The light resounds across the hills, 
 
 The crumbling dewdrops fall, 
 The rippling rock the moonbeam fills, 
 The starlight spreads its pall." 
 
 A person in hasty reading is conscious here of a cer- 
 tain pleasure of imagination, but may be unconscious at 
 first of the incongruity of the phrasings and the predi- 
 cations. 
 
 Besides increasing the child's power in reading, train- 
 ing of this sort will greatly aid him in his language. 
 In the first place, the subject will interest him; and 
 hence his diction will have the quality of individuality 
 that is usually lacking in children's compositions. He 
 has seen and felt this thing that he is telling. He is 
 thoroughly interested, and he is refreshingly natural. 
 In the second place, he learns the power of words and 
 the force of phrasing. Even with small children the use 
 of expressions of emotional value becomes apparent in 
 
EMOTIONAL WORDS AND PHRASES 27 
 
 a short time. In fact they even go to the extent of over- 
 doing a good thing. Their compositions are likely to 
 become, for a time, somewhat turgid. Here is one from 
 a girl of the fifth grade which exhibits something of that 
 tendency. 
 
 WAVE-WASHED SHORE 
 
 These words remind me of one day I went to the country. I 
 strayed to a wood by the house ; the birds sang sweet melodies in 
 the green canopy overhead, and the sun shone brightly. 
 
 On I went till I came to a silvery pool with pearly waves rushing 
 up to kiss its mossy shore. 
 
 Here is another, from a boy of the same grade, which 
 shows to better advantage the results of the work upon 
 composition. 
 
 WOODLANDS GAY 
 
 These words remind me of one pleasant autumn day. I came to 
 a gentle stream and on its banks were some trees. When I got to 
 the trees, they were murmuring softly and the gentle breeze made 
 the bright yellow leaves come dancing and playing on the ground as 
 though they were chasing each other down the pathway. The sun 
 was shining brightly, and the birds were singing sweet songs, and it 
 made the woods seem so happy that day. 
 
 In this work the child should be held to tell some 
 particular experience. He will in that case image more 
 perfectly, and as a result will speak with greater force 
 and clearness. Sometimes a word or phrase will not be 
 suggestive to the pupil. It will depend upon his ex 
 perience. But, in this last case, he may recall some- 
 thing he has heard or read, or some picture he has seen. 
 If so, let him tell about it. The word is emotional in 
 that case, not from experience, but from association with 
 other people or other things. Perhaps the only value 
 of note in such words as, hath, erst, e'er, steed, thy, etc., 
 
28 LESSONS IN ENGLISH 
 
 over the words we generally use in their stead, arises 
 from our associating them with the Bible or with poetry. 
 Sometimes a word or phrase may be too common to be 
 suggestive. By constant use it has become prosaic. 
 
 In the early work it is better to give the study of the 
 words and phrases of the lines, before giving the lines. 
 You will then get the child's experience without any 
 influence of the author, and will in this way give the 
 child a training that will make him more sensitive to 
 emotional words and phrases. Of course this previous 
 study of words and phrases, apart from the context, is 
 not interpretation of the context, but will prepare the 
 child to make a more vivid interpretation of the words 
 when found in the context. It is a special training for 
 the purpose of arousing the power of interpretation. 
 
 Other suggestions, both as to matter and method, 
 will be made in the illustrative lessons, and in studies 
 along with the selections given in the pages following. 
 
 II 
 
 After much and careful work on effects, take up the 
 study of emotional words and phrases. This gives excel- 
 lent drill in composition, and also increases the power 
 of visualizing or imaging. It is of great importance in 
 reading because it leads the child to see the inner mean- 
 ing of words, and from such increase of the understand- 
 ing comes better oral expression. 
 
 Such phrases as "softest light," " rippling water," 
 "dusky shadows," and "dancing firelight" appeal to 
 the child's mind, not alone from harmony of sound, but 
 more especially because they recall experiences. Now, 
 
EMOTIONAL WORDS AND PHRASES 29 
 
 what we aim to do is to train him to recognize and to 
 recall those experiences, and to express them in such a 
 way that we may know the effect of those experiences 
 upon him. To do this he must tell : 
 
 When it happened, as nearly as may be. 
 Where it happened, as nearly as may be. 
 What he was doing. 
 What things made him remember the experience. 
 
 The emotional words and phrases of the poem are to 
 be studied before the poem is read to the pupil. There 
 is a decided advantage in so doing. We get his own 
 unmixed experience, and that is what we want. 
 
 The lesson given below is the first work of the kind 
 given to the lowest class in the First Primary. The 
 stanza contains good material for work in Types and 
 The Theme. 
 
 THE SUNBEAM 
 
 If I were a sunbeam. 
 
 I know what Pd do ; 
 I would seek white lilies 
 
 Rainy woodlands through ; 
 I would steal among them, 
 
 Softest light Pd shed, 
 Until every lily 
 
 Raised its drooping head. 
 
 The emotional words and phrases : sunbeam, white 
 lilies, rainy ivoodlands, softest light, drooping head. 
 
 SOME LESSONS IN THE LOWEST CLASS OF THE 
 FIRST GRADE. 
 
 Teacher. " What does ' sunbeam ' make you think of ? " 
 Pupil. "Sunbeam makes me think of sunlight." 
 Teacher. "Do you think of any one time when you saw the sun- 
 light ? " 
 
30 LESSONS IN ENGLISH 
 
 Pupil. " In the summer." 
 
 Teacher. " What time in the summer ? " 
 
 Pupil. " One afternoon in the summer. 1 ' 
 
 Teacher. " Where were you ? " 
 
 Pupil. " I was outdoors playing in my little playhouse." 
 
 Teacher. " What makes you think of that afternoon ? " 
 
 Pupil. " Because I saw everything all shiny." 
 
 Teacher. " What else do you remember ? " 
 
 Pupil. " The sky was all blue and white, and the trees had leaves 
 on, and Mabel and me climbed up in the trees." 
 
 Teacher. " Now tell me all of it." 
 
 Pupil. " One afternoon in the summer I was outdoors playing in 
 my little playhouse, and I saw everything all shiny. The sky was 
 blue and white, and the trees had leaves on, and Mabel and me 
 climbed in the trees." 
 
 Note was made of the mistake in " Mabel and me." 
 It was not corrected at that time, for it would have been 
 unwise to run the risk of embarrassing the pupil at a 
 time when the prime object was thought and not form. 
 This girl showed too much self-consciousness at the best. 
 
 Teacher. " What do you think of when I say * white lilies 1 ? " 
 
 Pupil. " It makes me think of white lilies I saw over to Mr. 
 Hellier's house." 
 
 Teacher. " When did you see them, Stella ? " 
 
 Pupil. " One day last summer." 
 
 Teacher. " Where were you when you saw them ? " 
 
 Pupil. "I was walking up and down on the sidewalk by Mr. 
 Hellier^s house, and I saw them growing in the yard." 
 
 Teacher. u What makes you remember them ? " 
 
 Pupil. " They looked so white and pretty." 
 
 Teacher. " Now tell me all about it." 
 
 Pupil. " < White lilies ' makes me think of white lilies I saw one 
 day in the summer time when I was walking up and down on the 
 sidewalk by Mr. Hellier's house, and I saw them growing in the 
 yard. They looked so white and pretty." 
 
 A drill lesson is suggested by the pupil's mistake in 
 "over to Mr. Hellier's house." The faulty sentence 
 structure will be corrected incidentally. 
 
EMOTIONAL WORDS AND PHRASES 31 
 
 Teacher. " What does ' rainy woodlands ' make you think of ? " 
 
 Pupil. " It makes me think of being out in the woods when it is 
 rainy." 
 
 Teacher. " When was it ? " 
 
 Pupil. " One rainy Saturday afternoon in the summer." 
 
 Teacher. u Where were you ? " 
 
 Pupil. " I was out in the woods with Spencer and Harry." 
 
 Teacher. "What were you doing ? " 
 
 Pupil. " We were picking violets." 
 
 Teacher. " What makes you remember it ? " 
 
 Pupil. " We had more fun than if it was dry. The trees were 
 walnut trees, and so big that we couldn't shake them so we could 
 get all sprinkled with water. We got lots of violets. We were 
 barefooted, and ran up and down the hills and got all wet." 
 
 Teacher. " Now tell me all the story." 
 
 Pupil. " i Rainy woodlands' makes me think of one rainy Saturday 
 afternoon in summer when I was out in the woods with Harry and 
 Spencer picking violets. We were barefooted, and ran up and down 
 the hills and got all wet. We had more fun than if it was dry. The 
 trees were walnut trees, and so big we couldn't shake them and get 
 all sprinkled." 
 
 (On the morning before Christmas the children were 
 not allowed to go into the first grade room when they 
 came in, but were made to assemble in one of the other 
 rooms. In the first room the blinds had been closed, 
 and a Christmas tree had been decorated and lighted. 
 The children then marched into the room, and were 
 greatly surprised. The little boy who gives the next 
 composition was on the programme which was given dur- 
 ing the burning of the candles. In his dialogue he had 
 a Christmas pie. This explanation will help to make 
 the composition appreciated. Perry is five years old.) 
 
 Teacher. " What do you. think of when you hear the words 
 4 softest light ' ? " 
 
 Perry. " It makes me think of the little lights we had here on 
 the Christmas tree." 
 
32 LESSONS IN ENGLISH 
 
 Teacher. " When was it ? " 
 
 Perry. " It was early in the morning on Christmas Eve, when 
 we come to school." 
 
 Teacher. " Tell me all about it." 
 
 Perry. " I was sitting on a stool eating my pie. It was dark in 
 the room all but in front where the little soft lights were on the 
 Christmas tree. 1 ' 
 
 Teacher. " What makes you remember it ? " 
 
 Perry. " 'Cause it wasn't very long to 'member." 
 
 Teacher. " What else ? " 
 
 Perry. " It was pretty." (Then, noticing that I was writing down 
 what he was saying), " That paper will be all covered with writing 
 when I get done, won't it ? " 
 
 Teacher. " See if you can tell me all of it." 
 
 Perry. " i Softest light ' makes me think of early in the morning 
 on Christinas Eve when we come into school. I was sitting on a 
 stool eating my Christmas pie. It was dark in the room all but in 
 front where the soft little lights were burning on the Christmas tree. 
 (Now Fll have to stop 'cause the paper is full, won't I ? )" 
 
 Teacher. " * Drooping head ' ? " 
 
 Pupil. " It makes me think of a flower out in the yard with its 
 head bending way over." 
 
 Teacher. " When was it ? " 
 
 Pupil. " One hot afternoon in the summer." 
 
 Teacher. " Where were you ? " 
 
 Pupil. "I was out in the yard walking around, and I saw the 
 flower wilting and bending way over. It was nearly dying." 
 
 Teacher. " What makes you remember it ? " 
 
 Pupil. "It was a nice day. I was out in the yard. It was a 
 pretty flower, and I felt sorry." 
 
 Teacher. "Now tell it all." 
 
 Pupil. " < Drooping head ' makes me think of one hot afternoon in 
 the summer when I was out in the yard walking around. I saw a 
 flower bending way over. It was a pretty flower, and I felt sorry, 
 for it was dying." 
 
CHAPTER III 
 
 THE STUDY OF METAPHOR AND TYPES 
 I 
 
 WHEN one says, " She glided out of the room," what 
 is the mental process of the speaker? What is the 
 type-idea he has in mind when he says "glided" ? He 
 has, subconsciously at least, an image of something that 
 has that typical motion. It may be the motion of a 
 serpent, or of a quiet brook. The motion of the woman 
 was so much like the motion of the thing thus called 
 to mind as to be named after the type-element in the 
 latter. 
 
 "Thy word is a lamp unto my feet." What did the 
 composer of the psalm have in mind? Just this. In 
 his country vipers were numerous. They came out 
 after dark. They even came into the houses. A lamp 
 was attached to the toe of the sandal, when one had to 
 walk in such places as were especially dangerous at 
 night, for the purpose of disclosing the reptile and 
 alarming it as well. Notice now the power of the meta- 
 phor. The lamp was taken as a spiritual type-idea. 
 
 We use such borrowed type-elements much more 
 than, at first mention, it is possible to realize. Much 
 of slang, so-called, is nothing more than the extreme 
 use of type-elements. 
 
 D 33 
 
34 LESSONS IN ENGLISH 
 
 In the childhood of the races as well as in the child- 
 hood of the individual, we find this tendency to employ 
 type-ideas. The ancient picture writing, the North 
 American Indians with the rattlesnake's skin filled with 
 arrows, the imagery of the Book of Job, as in fact of 
 all the Jewish writings, are rich in illustrations of the 
 power of type meanings. The lion and the lamb, the 
 dove and the eagle, the cedars of Lebanon and the wil- 
 low, the sword and the plowshare, the pruning hook and 
 the spear, the hills around about Jerusalem, each and 
 all are in their type-potency the cloven tongues of fire 
 which every man may understand in his own language. 
 
 In the study of metaphor, the method is much the 
 same as in the study of emotional words. But it is not 
 well to push the details of experience forward so much 
 as in the study of emotional words. What we wish to 
 have imaged in the mind is the likeness that made the 
 metaphor possible. Hence it is best to give the meta- 
 phor first apart from the context, and require the pupil to 
 call to mind what is the most natural thing suggested by 
 the word. Sometimes there will be a vivid experience 
 connected with the word. In that case let the pupil 
 give the experience. The word will be the richer in 
 meaning for that experience. 
 
 We have now reached the point where we can see 
 what a far-reaching literary principle the law of "types " 
 really is. When we were dealing with effects of mood 
 we were seeking the type of feeling expressed. In the 
 study of character effects we were trying to identify 
 the type of character implied. In the metaphor we 
 discover an outward evincement of an inner spiritual 
 type. The types are in our minds, and we try to ex- 
 
STUDY OF METAPHOR AND TYPES 35 
 
 press them by some outward symbol. When the out- 
 ward symbol approaches very close to the inner type, 
 we call one thing by the name of another. That is 
 metaphor. If the likeness is a degree farther removed, 
 we use the simile, and say one thing is like another. 
 Such is the broad application of the principle of type 
 meanings. 
 
 II 
 
 Below are some lessons on metaphors as worked out 
 in a First Primary grade. 
 
 Teacfier. " What does * floating ' make you think of ? " 
 
 Pupils. "A boat floating down the river." "A stick floating 
 down the river." " Leaves floating from the trees." " Butterflies 
 floating in the air." " Leaves floating on the pond." 
 
 Teacher. " Where do things really float? " 
 
 Pupil. " On the water." 
 
 Teacher. " Why say, < The seeds of the dandelion are floating on 
 the breeze ' ? " 
 
 Pupil. " Because they move along on the air as they would on 
 the water." 
 
 Teacher. " What does ' swarmed ' make you think of ? " 
 
 Pupils. " Of a swarm of bees." " It makes me think of a swarm 
 
 of flies." "It makes me think of a swarm of bees I saw in our apple 
 
 tree. The tree looked almost black." 
 
 Teacher. "Why say, 'The people swarmed about the park '?" 
 Pupils. "Because there were so many." "They were as thick 
 
 as bees." "There were as many people as a swarm of bees." 
 
 Teacher. " What does ' lonely ' make you think of ? " 
 Pupils. " It makes me think of the time when mamma and all my 
 big sisters and brothers went away and I had to stay and take care 
 of the baby. We felt lonesome." " One time my mamma went up 
 town and locked Rita in the house. She was awful lonely." " It 
 makes me think of one day when I went home from school and no 
 one was there. I had to stay by myself until nearly dark. I was 
 so lonely that I cried." 
 
36 LESSONS IN ENGLISH 
 
 Teacher. " Why speak of a ' lonely flower ' ? Does it feel lonely ? " 
 Pupils. "It is growing by itself." "It is all alone. 1 ' "There is 
 no other flower near it." 
 
 Teacher. " What does t veil ' make you think of ? " 
 
 Pupils. " It makes me think of last Sunday when mamma went 
 to church and wore a veil over her face." "Mamma put a veil over 
 baby's face to keep the light out of her eyes." "When I came to 
 school that cold day I wore a veil over my face." " I wear a veil 
 when I go to Sunday-school." " Mamma makes me wear a veil 
 when it's very cold." 
 
 Teacher. " You have all thought of a veil as being what? " 
 
 Pupil.- " Something to put over one's face." 
 
 Teacher. " Why say, < veil of clouds ' ? " 
 
 Pupils. " The clouds are over the sky." " The clouds make a veil 
 over the sky's face." " The clouds cover the blue face of the sky." 
 
 Teacher. " Why say, < veil of night ' ? " 
 
 Pupils. " The dark is the veil." " The darkness covers the sky." 
 " JVoj the darkness doesn't cover the sky. It covers everything." 
 
 Ill 
 
 After the study of certain plants and animals that 
 have been long recognized as evincements, in their 
 degree, of spiritual types, the children were asked this 
 question : 
 
 " Now suppose this flower (or whatever object is 
 being studied) were turned into a person, what kind of 
 a person would it be ? " The following answers were 
 given orally by first-grade pupils. 
 
 Lily (pure white). 
 
 "A baby is like a lily because it is pure and white and good." 
 
 Oak Tree. 
 
 " The oak tree gives cool shade, nuts for squirrels, and a place 
 for the birds to play and build their nests. A person like the oak 
 tree would be a man, strong and tall. He would be kind, and help 
 weak people." 
 
STUDY OF METAPHOR AND TYPES 37 
 
 A Mouse. 
 
 "A person like a mouse would be a little boy who was very still. 
 He would steal things to eat, and would not be very easy to catch." 
 
 The Cow. 
 
 "A person like the cow would be kind, gentle, and not selfish." 
 
 The following are from second-grade pupils : 
 
 A Wasp. 
 
 " If a wasp were changed into a little girl, she would be pretty." 
 
 " She would not be nice to play with, because she would always 
 get angry and say cross words." 
 
 " She would always think about her clothes, and would not play 
 with children who did not wear nice dresses." 
 
 A Rat-Terrier. 
 
 " A boy like our rat-terrier would be good." 
 " He would mind his friends. He would watch the children 
 when his mamma went away." 
 
 "He would drive the chickens out of the garden." 
 " He would love all his friends and want to help them." 
 " He would have sharp eyes and sharp ears to see and hear every- 
 thing around him." 
 
 Sometimes a less palpable type-element was chosen, 
 as the following : 
 
 A Pleasant Day. 
 
 "A pleasant day is like a little girl with a bright face." 
 "She always gives people kind words." 
 
 " She goes to see sick people, and they are glad to see her because 
 she makes them feel better." 
 
 " She gives flowers to everybody that loves them." 
 "She is never selfish." 
 
 Of one thing the teacher must be careful. She must 
 not force her pupils to see a spiritual analogy. They 
 may be led into its presence, but should be left alone 
 to see or feel without further assistance. Otherwise, 
 there is cultivation of cant. 
 
CHAPTER IV 
 
 THE THEME 
 I 
 
 THE most important thing is the Theme. The lesson 
 that a poem or a story teaches is the principal thing to 
 study, whether the lesson be of ultimate truth or of 
 ultimate beauty. It must be remembered, however, 
 that the Theme is made up of smaller units, each of 
 which has its value, and the sum of which make the 
 value of the Theme. This sum total is what we want 
 to obtain in our study of the Theme, and in order to 
 obtain it we must find the value of the lesser meanings. 
 
 One of the first things to remember is that the Theme 
 should not be preached into pupils. Lead them to in- 
 terpret for themselves. Sometimes it will be necessary 
 to cut out some of the preaching of the author himself. 
 For illustration take Jane Taylor's The Violet. After 
 describing the appearance and home of the flower in 
 a sympathetic way, and even interpreting its spiritual 
 symbolism, the author adds just what the reader should 
 have been allowed as his right to discern : 
 
 " Then let me to the valley go, 
 
 This pretty flower to see, 
 That I may also learn to grow 
 In sweet humility." 
 
 In giving the poem in this book, we have omitted that 
 stanza. The pupil must be taught to interpret for him- 
 
 38 
 
THE THEME 39 
 
 self, if the study of literature is to pay for the time 
 spent upon it. Bryant does the same unnecessary 
 interpreting in To a Waterfowl. As early as the 
 fourth stanza, he says : - 
 
 " There is a Power whose care 
 Teaches thy way along that pathless coast, 
 The desert and illimitable air, 
 Lone wandering, but not lost." 
 
 And then more explicitly in the last stanza : 
 
 " He who, from zone to zone, 
 
 Guides through the boundless sky thy certain flight, 
 In the long way that I must tread alone, 
 Will lead my steps aright." 
 
 In intermediate and grammar grades, these stanzas are 
 omitted, and the teachers find no difficulty in getting 
 the pupils to interpret the theme. Almost without 
 exception each pupil sees the lesson of patience in 
 toil set forth in the fifth stanza. 
 
 In a first-primary class the teacher was using Alice 
 Gary's November. When she reached the end of the 
 second stanza, the children set forth the lesson unex- 
 pectedly in the following way : 
 
 " When we look at the rosebush in winter we ought to think of 
 the roses, and remember that they will come again." 
 
 "When we aren't happy we must think of the time when we 
 were." 
 
 " Then we must remember that we can be happy again, and think 
 of the roses that will come again." 
 
 Notice the development of the thought as it proceeds 
 with the several pupils. 
 
 There is a difference between dissection and interpre- 
 
4 o LESSONS IN ENGLISH 
 
 tation. Dissection may be mechanically pulling to 
 pieces. Too often that is all that "analysis" means. 
 Interpretation seeks to find the spiritual meaning of 
 literature, the thing which makes its existence possible 
 and valuable. 
 
 II. 
 
 THE SUNBEAM 
 
 If I were a sunbeam, 
 
 I know what Pd do ; 
 I would seek white lilies, 
 
 Rainy woodlands through ; 
 I would steal among them, 
 
 Softest light Pd shed ; 
 Until every lily 
 
 Raised its drooping head. 
 
 Teacher. "If the sunbeam were a person, what kind of a person 
 would it be ? " 
 
 Pupils. "A person like a sunbeam would be a little girl. She 
 would look bright and kind. She would help her mother, and always 
 be happy." u We all can be little sunbeams by being kind and good 
 and making everybody happy." 
 
 Teacher. " If a white lily were changed into a person, what kind 
 of a person would it be ? " 
 
 Pupil. " A person like a lily would be a little baby, for a baby is 
 good and has never done anything naughty." 
 
 Teacher. " What lesson in this poem for us ? " 
 
 Pupils. " We can all go to people who are sad, sick, have sorrow 
 and trouble, and help them till they feel better and happy." " The 
 people can be sunbeams who can find good everywhere, and who are 
 good all the time." 
 
 (Compare with Chapter II., p. 29, for another study 
 of these lines.) 
 
CHAPTER V 
 
 POSES ANP PICTURES 
 
 THE simplest description involves three things : 
 
 1. Who or what it is. 
 
 2. Where it is. 
 
 3. If a living thing, what is it doing. 
 
 The first work in description should be of this simple 
 kind. Poses give the best material to work upon. They 
 are better for this purpose than pictures, although pic- 
 tures may be used to advantage. 
 
 The first step. Who and where. 
 
 Place a boy at the corner of the teacher's desk. Ask 
 the question, " Who is this ? " Or, you may say, " Tell 
 me who this is." Make all talk, and look after those 
 inclined to be shy or silent. Write one of the replies on 
 the board, and let the pupils read. They will learn 
 words, capitalization, use of punctuation marks, para- 
 graphing, etc., incidentally by seeing the teacher write, 
 and by their reading what they have themselves 
 composed. 
 
 Then ask, " Where is he ? " Proceed as before. 
 
 Impress these two points by asking in the third or 
 fourth composition, " What will you tell first ? " " What 
 next ? " 
 
 41 
 
42 LESSONS IN ENGLISH 
 
 The second step. Who, where, what doing ? 
 
 When the pupils realize the two things involved, and 
 express them readily, then give a pose in which the boy 
 shall be doing something. (See Pose No. I.) Now ask 
 the additional question, " What is he doing ? " Proceed 
 as before. At this time the poses should have some 
 point, such as could be named if they were made into 
 pictures. 
 
 A vital point is variety of expression. The teacher 
 must encourage the pupils to say things in different 
 ways, when good ways are possible. She will at every 
 point ask, " Can you express the same thought in dif- 
 ferent words ? " The following is a lesson as developed 
 in a first grade : - 
 
 Teacher. "What is the first thing to tell ?" 
 
 Pupil. "Who it is." 
 
 Teacher. " Tell me who it is in as many ways as you can." 
 
 Pupils. "This boy is Roland." "I see Roland." "This is 
 Roland." "Here is Roland." 
 
 Teacher. " What do you tell after telling who he is ? " 
 
 Pupil " Where he is." 
 
 Teacher. "Where is he? In as many ways as you can." 
 
 Pupils. " He is by the table." (Not enough.) " He is standing 
 by the table." (Not enough yet.) " He is standing by the corner 
 of the table." (Good.) 
 
 Teacher. " What other word could you use instead of < by 1 ?" 
 
 Pupil " We could say 'at.'" 
 
 Teacher. "What one word could we use instead of 'is standing' ? " 
 
 Pupil " We could say < stands.' " 
 
 Teacher. " What will you tell next about him ? " 
 
 Pupil "What he is doing." 
 
 Teacher. " Tell it." 
 
 Piipils. " He -is working with the blocks." " He is building a 
 church." "He is building a church with blocks." 
 
 Teacher. " Can any one tell it in still another way ? " 
 
 Pupil " He is building a block church." 
 
POSES AND PICTURES 43 
 
 Teacher. u Now, you may name this pose. 11 
 
 Pupil. " Building a Church. 1 ' (Teacher writes the subject above 
 the composition, and then asks Rosa to read. This is what she 
 read : 
 
 BUILDING A CHURCH 
 
 This boy is Roland. 
 
 He is standing by the corner of the table. 
 
 He is building a block church. 
 
 The third step. More complicated poses. 
 
 We are now ready to take more complicated poses. 
 (See Pose No. II.) The teacher asks the following 
 questions, and writes the answers in turn, as soon as 
 they are given. 
 
 "What shall we play Marie is?" (Introduction.) 
 
 "Where is the doll?" 
 
 " Where is Marie ? " (Including position.) 
 
 " What is she doing ? " 
 
 " What else do you wish to say ? " (Inference.) 
 
 The composition as given : 
 
 THE LITTLE ARTIST 
 
 Marie is a little artist. 
 
 Her doll is standing against the wall. 
 
 She is sitting on the floor upon a rug in front of the doll. She 
 has a sheet of paper in her lap, and a pencil in her right hand. She 
 is drawing a picture of her doll. I think she is making a good 
 picture. 
 
 The pupils then copy in order to get the form, to 
 learn the words, and to impress the laws of composition 
 incidentally. 
 
 A still more complicated pose might be given a little 
 later. (See Pose No. III.) Take two little girls, and 
 
44 
 
 LESSONS IN ENGLISH 
 
 let them play that their doll is ill. Place one girl upon, 
 a stool. Put a pillow upon her lap, and upon this lay 
 the doll. Place another girl in front of her, standing 
 and holding out a cup of medicine with a spoon in it. 
 The teacher asks the following questions : 
 
 " What shall we call this ? " (Subject.) 
 "What are the girls playing ? " (Introduction.) 
 " Whom will you talk about first ? " 
 
 " What will you tell about her ? " (Ans. Where and what 
 doing.) 
 
 " Whom will you talk about next ? " 
 
 "What will you tell about her ? " 
 
 "What else do you wish to say ? " (Inference.) 
 
 Then let some one describe the entire pose. The com- 
 position will appear something like the following : 
 
 THE SICK DOLL 
 
 Nettie and Ruth are playing that their doll is sick. 
 
 Nettie is sitting in the front of the room upon a stool. She has 
 a pillow upon her lap, and a doll lying upon the pillow. She is 
 looking worried because the doll is so sick. Ruth is standing in 
 front of Nettie. She is bending toward Nettie, and holding out a 
 cup of medicine in both hands. 
 
 I think they will take such good care of the doll that it will soon 
 be well. 
 
 In this begin to teach paragraphing. This descrip- 
 tion takes three paragraphs, viz., the introduction, the 
 description proper, the conclusion. 
 
 Observe the introductory sentence, and what it tells. 
 Note also that it is important to select the things in the 
 right order. Otherwise there would be some confusion. 
 Try taking Ruth before Nettie, and notice how you are 
 forced to refer to Nettie before you are ready, or to 
 
POSES AND PICTURES 45 
 
 leave it not lear that Ruth is holding the cup toward 
 Nettie. Observe that there is very little difference in 
 the treatment of the parts of the complex picture and 
 the whole of the simple picture. In the complex picture 
 they give the ivho and the where in the same sentence, 
 and they locate the subordinate objects with reference 
 to the principal ones. For example, Ruth is located 
 with reference to Nettie, in the preceding description. 
 
 The fourth step. Posing for imaginative description. 
 
 Turn to Pose No. IV. The teacher asked Rosa to 
 describe Perry. Rosa gave the following : 
 
 This boy is Perry. 
 
 He is sitting on a box that is on the table. He is holding with 
 both hands a pointer that has a string on the tip. There is a can 
 sitting by the box. 
 
 He is playing like he is fishing. 
 
 I think he is having a good time. 
 
 (The mistake in using like was noted. Formal drill 
 was given later.) 
 
 Then the teacher said, " Now, children, let us play 
 that this is not a box, that this is not the table, that this 
 is not the floor, that this isn't a pointer, and that Perry 
 is not playing." 
 
 Teacher. "If he is not playing, what is he doing ? " 
 Pupil. "He is fishing." 
 Teacher. " Then what shall we call him ? " 
 Pupil. "The fisherman." 
 
 Teacher. " Then if Perry is a fisherman, what are all of these 
 things ? " 
 
 Pupils. " A rock," " the bank of the river," etc. 
 
 Teacher, "Eddie may tell it all." 
 
 Eddie. 
 
46 LESSONS IN ENGLISH 
 
 THE FISHERMAN 
 
 " This little fisherman is Perry. 
 
 " He is sitting on a rock close by the shore of the pond. He is 
 holding the fishing pole tight in his hands, and is trying to catch fish. 
 " He has an old can of worms by the rock. 
 "It is summer, and very warm. 
 " I think he likes to fish because he looks happy." 
 
 In more advanced grades, the pupils would be asked 
 to recall some fishing place they had seen, and describe 
 Perry as sitting in that place. They would naturally be 
 asked also to describe the day and other things that would 
 make up the pleasures of that fishing experience. In this 
 manner the pose may be made the occasion for recalling 
 experiences, and for setting the constructive imagination 
 a task that it can perform. 
 
 Pictures may be used in all the steps. The method 
 of treatment is the same as in poses. Be sure to select 
 studies that are not too complicated, that have a point, 
 that are interesting to children. The best results are 
 obtained from the use of pictures which depict intense 
 emotion. 
 
 But the most important thing of all in point of method 
 is the leading of pupils to interpret the effects in the 
 picture. " What does the straw hat tell you ? " " What 
 do the pole and line tell you ? " " What tells you that it 
 is a warm day ? " These are illustrations of the language 
 of the picture that the child must learn to see and to 
 translate. Pupils who are taught to interpret in their 
 reading easily learn to interpret pictures. Illustrations 
 are given below of what a first-grade class readily saw 
 in three pictures. 
 
POSES AND PICTURES 47 
 
 ADRIFT 
 
 Teacher. " What are some of the hints you see in the picture ? " 
 Pupils. " The big waves and the broken vessel tell that there has 
 been a storm." " The man is waving to the other ship for help." 
 " The boy is weak and tired, and so afraid." " The papa is kind to 
 tie him to the stick to keep him from being washed off. He is kind 
 because he didn't tie it around himself." 
 
 A STUDY OF THE "HINTS" IN THE PICTURE 
 
 Teacher. " What hints do you see ? " 
 
 Pupils. " They are in a boat on the ocean, but not very far from 
 
 the shore." " The man is a fisherman." 
 
 Teacher. " What tells you that he is a fisherman ? " 
 
 Pupils. " He has a net." ".He has a hook and a spike on a pole." 
 
 Teacher. " What other things about the man ? " 
 
 Pupils. "He is kind and loves his little girl, because he lets her 
 
 help him." " His face looks kind too." " He is not rich because he 
 
 has on wooden shoes." "They don't wear wooden shoes in this 
 
 country ; only sometimes Germans do." " His clothes are patched. 
 
 They are poor." " They try to make things last." "He smokes a 
 
 pipe." 
 
 Teacher. " What hints about the little girl ? " 
 
 Pupils. " She loves her papa, because she is trying to help him." 
 
 " She is kind." " She is neat." 
 
 A FASCINATING TALE 
 
 Teacher. " What do the books and inkstand tell you ? " 
 Pupil. 4< The people like to read and write." 
 Teacher. " What will you talk about next ? " 
 Pupil. " The little white kitten." 
 Teacher. " What hints about it ? " 
 Pupil. " It is ready to jump and is watching." 
 Teacher. " Take up the next thing and tell the hints about it." 
 Pupil. " The little black kitten is watching on the other side of 
 the stand, and is going to catch with its claws." 
 
48 LESSONS IN ENGLISH 
 
 Teacher. " Take the next thing. 1 ' 
 
 Pupils. " The mother cat wants the little ones to catch it." " If 
 they let it go, she will catch it." " She is ready to spring." " She 
 is a kind mother." 
 
 Teacher. " Take the next thing." 
 
 Pupil " The rat is hiding." 
 
 The teacher should know the fundamental laws of 
 composition in order to see readily and clearly the mis- 
 takes that the pupils make in composition. She is not 
 a good teacher who is unable to say at once, "Just here 
 you miss, or there exceed the mark." The following 
 laws have been laid down by Day and others : 
 
 1. The Law of Unity. 
 
 2. The Law of Selection. 
 
 3. The Law of Order, or Arrangement. 
 
 4. The Law of Proportion. 
 
 The law of Unity requires the selection of a single 
 theme, and the " sticking to the text." The law of Selec- 
 tion requires the choice of just such things, principal 
 and subordinate, as are necessary to the clear and forci- 
 ble presentation of the theme, and it requires the exclu- 
 sion of all unnecessary things. The law of Order or 
 Arrangement requires such a logical presentation, as 
 regards order or arrangement, of the things that they 
 shall not be confused one with another. This enables a 
 clear and progressive mental picture in the mind of the 
 hearer or reader as the theme is presented. The law 
 of Proportion demands that each thing selected shall 
 have its due amount of attention, neither more nor less. 
 These last two laws might together be called the law of 
 Coordination and Subordination, which requires that the 
 
POSES AND PICTURES 49 
 
 principal things shall be so presented that they may be 
 easily distinguished from the subordinate things, and 
 that things of coordinate value shall be recognized in 
 that relation. In the picture " Adrift," the artist took 
 for his theme a raft of shipwrecked people afloat at sea. 
 He selected a raft in a sea of tossing waves, a boy, and 
 a man for the principal objects, and a distant ship to 
 which the man on the raft is signaling, as the subordi- 
 nate object. The ship is subordinated to the raft by be- 
 ing in the background and by being very indistinctly 
 visible. Thus both position and treatment are used to 
 subordinate it to the raft. 
 
 To lead pupils to see the principal and the subor- 
 dinate effects in a picture, say to them, " Suppose we 
 had to cut this picture down or to leave out some things, 
 what would you leave out first ? What next ? What 
 next? " etc. Continue until you have come down to the 
 point in exclusion where the theme would be lost by 
 further omissions. They will then see the relative value 
 of the objects in the picture. Then study how the 
 author made you see that the first things were the least 
 important, and the last the most important. 
 
 The composition of a picture is analogous to the com- 
 position of an essay or an oration. In the case of the 
 essay, a subject or theme is chosen; then the principal 
 points for discussion are selected ; then the subordinate 
 points under each principal ; then the points are arranged 
 in logical and distinct order ; and lastly, each point re- 
 ceives its proper amount of attention, neither more nor 
 less. 
 
 When pupils violate the laws of composition, do not 
 quote laws to them, but lead them to see the violation of 
 
50 LESSONS IN ENGLISH 
 
 a common-sense principle. To illustrate, if the law of 
 selection is violated by omitting something of impor- 
 tance, ask, " Why did you leave that out ? Is it of no 
 service ? " If it be the law of order that is violated, ask, 
 " Why did you run all about? What should you have 
 taken first? What next?" etc. Impress upon them, 
 too, that they should complete the treatment of one sub- 
 ject before taking up the next. If it be the law of pro- 
 portion that is violated, say, " Why did you talk so much 
 more (or less) about that point than the other ? Is not 
 the one just as important as the other ? " 
 
 In dealing with pictures, do not neglect the spiritual 
 for the sake of the formal. Lead pupils to interpret the 
 effects in pictures. Train them to discover those fun- 
 damental type-meanings which the artist has employed 
 to set forth principles of fundamental truth or beauty. 
 Interpretation as applied to art in literature is equally 
 applicable to art in any field. The purpose of all art is 
 to reveal truth and beauty, and the fundamental types of 
 expression in each field of art are spiritually the same. 
 Of course, this assumes the use of compositions of art 
 value. 
 
CHAPTER VI 
 SUGGESTIONS ON TEACHING FORMS 
 
 SPECIAL drills on forms are necessary. The teacher 
 should note the mistakes that children make, and should 
 arrange for lessons that will be drills on the correct 
 forms. These lessons should be conversational, and 
 should not require difficult thought work. Such drills 
 might come at the close of a recitation, or in a special 
 period of their own. Corrections should not, as a rule, 
 be made at the time of reciting. It is an easy matter to 
 deaden the children's enthusiasm and concentrated 
 thought by forcing a criticism upon some mistake in 
 form that has been made. 
 
 Do not run this risk. It is better to wait, but be sure 
 that the needed drill and correction occur at some future 
 time. Below we give a few illustrations in the method 
 of obtaining conversational lessons involving the use of 
 such forms as need the teacher's special care. 
 
 i. Some Lessons on the Singular and Plural Forms 
 of Verbs and Nouns. 
 
 (a) "Tell me about something that runs." " Some- 
 thing else," etc. 
 
 (b) "Tell me about something that flies." (A bird 
 flies.) " Tell me the same thing about more than one 
 bird." (Birds fly.) 
 
 51 
 
52 LESSONS IN ENGLISH 
 
 (c) "Tell me about something that is black." "Tell 
 me the same thing about more than one." 
 
 (d) " Tell me about something that has wings." " Tell 
 me the same thing about more than one." 
 
 (e) "When I say something about one you may say 
 the same thing about more than one." 
 
 (/) " When I say something about more than one you 
 may say the same thing about one" 
 
 (g) " Tell me about two things that walk." 
 
 (K) " Tell me something that a cat, a dog, and a bird 
 do." 
 
 (i) " Tell me something a boy does, and something 
 else a girl does." 
 
 2. Lessons on the use of A and An. 
 
 (a) Have objects on the desk for children to take. 
 Let them take them and say, " I have," etc. 
 
 () Let them look from the window and tell what 
 they see, naming single objects. 
 
 (c) Put names of objects on the board, objects whose 
 names begin with vowel sounds, and let them tell that 
 they have seen an apple or an orange, as the case may 
 be, pointing to the word at the same time. 
 
 3. Drills on Tense Forms. 
 
 Teacher. " What does the janitor do every morning at 8.30 ? " 
 Pupil. He rings the bell." 
 
 Teacher. " What did he do yesterday morning at 8.30 ? " 
 Pupil. " He rang the bell." 
 Teacher. " What has he done this morning ? " 
 Pupil. He has (?) the bell." 
 
 Teacher. "What had he done to the bell before you came this 
 morning ? " 
 
From painting by Mme. Ronner. 
 
 A FASCINATING TALE 
 
TEACHING FORMS 53 
 
 Pupil "He had (?) the bell." 
 
 Teacher. "What have the janitors done to the bells this 
 morning ? " 
 
 Pupil. "They have (?) the bells." 
 
 Teacher. " When you are talking of time that is gone what 
 should you say ring, rang, or rung? With has, have, and had 
 which word should you use ? " 
 
 Then place the forms on the board, where they may 
 remain for some time in this form : 
 
 ring, rings, has 1 
 
 rang, have j- rung. 
 
 had J 
 
 It is also a good plan to have a bell at hand and let 
 the pupils do the acting themselves. 
 
 The filling of blanks has some value, and the correct- 
 ing of incorrect expressions also, but the most benefit 
 will come from drills similar to those given above. Be 
 sure to keep a list of incorrect expressions which the 
 children use, so that you may give your language drills 
 where they are needed. 
 
 When pupils have acquired more confidence, you may 
 call attention to mistakes that have been made in a com- 
 position, just after the composition has been given. But 
 do not at any time stop a pupil in the midst of his work 
 to correct a form. 
 
PART II 
 
 SELECTIONS AND STUDIES 
 
SELECTIONS AND STUDIES OF EFFECTS 
 OR HINTS 
 
 HARRY AND CARLO 
 
 Harry and his nurse were out walking. They met a 
 man carrying three puppies to the river. 
 
 Carlo put his nose on Harry's little hand, and Harry 
 put his arms around Carlo's neck. Just then Harry's 
 father came along, and said Harry might have Carlo for 
 his own. 
 
 One day Harry and Carlo were out in the garden 
 playing. The nurse left them for a minute. When she 
 came back she called Harry as loud as she could. His 
 papa and mamma came running out, and just then they 
 heard Carlo barking. They ran to the spot from which 
 the sound came. 
 
 There lay Harry on the grass, all wet and cold. In 
 his little hand he still held a water-lily. Carlo stood be- 
 tween Harry and the edge of the pond, barking and 
 wagging his tail. 
 
 After that Harry and Carlo were always together. 
 
 STUDIES 
 
 What hint in, "Harry and his nurse were out walking" ? In 
 "They met a man carrying three puppies to the river"? 
 
 In, " Carlo put his nose on Harry's little hand " ? In, " Harry put 
 his arms around Carlo's neck " ? In, " Said he might have Carlo for 
 his own " ? 
 
 57 
 
58 LESSONS IN ENGLISH 
 
 In, " One day Harry and Carlo were out in the garden playing" ? 
 In, "When she came back she called Harry as loud as she could" ? 
 In, " His papa and mamma came running out " ? In, " Then they 
 heard Carlo barking" ? In, "They ran to the spot from which the 
 sound came " ? 
 
 In, "There lay Harry all wet and cold" ? In, "He still held a 
 water-lily" ? In, "Carlo stood between Harry and the edge of the 
 pond " ? In, "Barking and wagging his tail " ? 
 
 In, "After that Harry and Carlo were always together" ? 
 
 FRED'S PETS 
 
 One day Fred's papa gave him five little white rabbits. 
 
 Fred clapped his hands and said, " Thank you, papa, 
 thank you ! " 
 
 He made a pen for them and he shut them up every 
 night. 
 
 When he fed them they came to him and ate from his 
 hand. They liked clover, grass, bread, and cabbage. 
 
 One morning he found only four in the pen. He ran 
 in to tell his papa that some one had taken his smallest 
 rabbit. 
 
 Just as he said, " Who could have taken it ? " he saw 
 his old cat washing something red from her white paws. 
 
 STUDIES 
 
 What hint in the first sentence ? 
 
 What hint in, " Fred clapped his hands " ? What in what he said 
 to his papa ? What in the next sentence ? 
 
 What in, " They came to him and ate from his hand" ? 
 
 " One morning he found only four in the pen." Hints what ? 
 
 What hints in the next sentence ? In the last sentence ? 
 
 Who took his rabbit ? What tells you ? Be careful to tell just 
 what tells it nothing more. 
 
SELECTIONS AND STUDIES 59 
 
 THE LOST HAT 
 
 A man, bent and gray, leaned upon a stick, and for a 
 long time watched the boats out on the lake. 
 
 Now his long white hair blows about his face and his 
 hat lies in the water. 
 
 He reaches for it with his stick, but it drifts slowly out 
 to meet the boats. 
 
 He turns to walk away when Jimmie White comes 
 along with his dog. 
 
 He says, " I can swim. I will get your hat for 
 you." 
 
 But Rover sees the hat and they hear a loud bark and 
 a splash. Jimmie laughs and calls, " You saw it first. 
 Good old Rover ! " 
 
 Soon Rover brings the hat. Jimmie pats him, then 
 gives the hat to the man, saying, " I am sorry that it is 
 so wet." 
 
 " Thank you, my boy ! Thank you, Rover, too ! " 
 says the old man as he walks slowly away. 
 
 STUDIES 
 
 What hint in the first part of the first sentence ? What in his 
 watching " for a long time " ? 
 
 What hints in the second sentence ? In, " He reaches for it with 
 his stick " ? In its drifting slowly out toward the boats ? 
 
 What hint in, " He turns to walk away" ? 
 
 What hints concerning Jimmie in the next sentence ? What in, 
 " They hear a loud bark and a splash " ? 
 
 What hints concerning both Jimmie and Rover in the next sen- 
 tence ? 
 
 What hints about the man in the last sentence ? 
 
60 LESSONS IN ENGLISH 
 
 JUST FOR FUN 
 
 " Let's run up behind Tim Ragan and knock his hat 
 off. He'll have to pick it up with his teeth. Come, 
 let's do it," said Frank. 
 
 " What for ? " asked Ellis. 
 
 "Just for fun." 
 
 " Well, where would be the fun ? " 
 
 " Fun for us," said Frank. 
 
 " No fun at all," Ellis answered. " Fun ought to 
 make people happy all 'round, my mother says. And 
 she knows. I'll tell you what to do. Let's catch up 
 with him and haul him home in our cart, with his bundles 
 and all. That would be fun." 
 
 So the boys tried that sort of fun. When they started 
 back from Tim's house, Frank said thoughtfully, "Well, 
 that was fun ! " 
 
 STUDIES 
 
 What hint in the first sentence ? What in, " He'll have to pick 
 it up with his teeth " ? Can you find two hints in the next sentence ? 
 
 What hint in Frank's answer ? What in ElhVs saying, " Where 
 would be the fun " ? Why does Frank say, " Fun for us " ? What 
 hint ? In the next three sentences what hints about Ellis ? About 
 his mother ? 
 
 What hint in what Ellis wants to do for fun ? 
 
 In the last sentence what hint in " thoughtfully " ? What in, 
 "Well, that was fun"? 
 
 A GOOD WAY 
 
 " Come and play croquet with Ruth and me, Harry," 
 said his sister Nellie. 
 
 " Oh, I can't ; I want to go and sail my ship for a 
 
SELECTIONS AND STUDIES 61 
 
 while/' said Harry. " You come with me and see how 
 she will glide over the water." 
 
 " Oh, please play with us, Harry ! " 
 
 "Well, I'll play after we sail the ship awhile," 
 said Harry. " Folks ought to give up to each other 
 about their play, mamma says. So come along with 
 me." 
 
 " But why should Ruth and I give up more than 
 you ? " said Nellie. 
 
 " Let's go and ask mamma who should give up," said 
 Harry. So they went to their mamma. 
 
 " Mamma," said Nellie, " Ruth and I want Harry 
 to play croquet with us, and he wants to sail his 
 boat." 
 
 " Then some one must give up, surely," said mamma, 
 smiling. " Of course you all want to be kind and pleas- 
 ant. Harry wants to be a gentleman, and a boy who is 
 a gentleman gives up." 
 
 " Well," said Harry, " we'll play croquet first." And 
 that was the way they settled it. 
 
 STUDIES 
 
 What hint as to time in the first sentence ? In the second and 
 the third sentence what hints about Harry ? What about the 
 place ? 
 
 What hint about Harry in, " Oh ! please play with us, Harry " ? 
 What hint about Nellie ? What hint about Harry in, I'll play 
 after we sail the ship awhile " ? What hint about his mother in the 
 next sentence? Give all the hints about Harry in this paragraph. 
 What hint about Nellie in, " But why should Ruth and I give up more 
 than you " ? What hint in wanting to go to their mother ? 
 
 What hint in what their mother said to them ? What hint about 
 Harry in the next ? What do you think of Harry now ? 
 
62 LESSONS IN ENGLISH 
 
 QUEER FRIENDS 
 
 Dick lay on the rug in front of the fire, and watched 
 the sparks as they chased each other up the chimney. 
 Mamma sat near writing letters. After a while Dick's 
 eyes began to close slowly. Just then something said, 
 " Mew ! mew ! " Dick jumped up at once. He looked 
 out of the door, but there was nothing to be seen. 
 " Mew ! mew ! " it said again. Then he went to the 
 low window of the room and there he saw a little black 
 kitten. He raised the window and the kitten came in 
 shivering. He ran to the kitchen and warmed some 
 milk for it. Then he put it in a warm bed out in the 
 woodshed. 
 
 The next day Dick tried to find the owner, but he 
 could hear of no one that had lost a kitten. So he kept 
 it for his own. 
 
 Not long after this his mother found a mouse in the 
 trap. " Oh ! please don't kill the poor thing, mamma," 
 said Dick. " Let's keep him, mamma. I can tame 
 him, I know I can." He had heard of some mice that 
 had been taught to do funny tricks. 
 
 " Squeak ! squeak ! " said the mouse, and that settled it. 
 
 So Dick brought an empty bird cage, and put the 
 mouse into that for a while. It soon became tame. 
 It first learned to eat from Dick's fingers. Then it 
 would come up on his hand and eat. It was not long 
 before^ Dick let him out on the floor to play with him. 
 The kitty was then allowed to come in, and Dick taught 
 her not to touch the mouse. Before long the kitty and 
 the mouse ate together from the same saucer, and took 
 naps together on the rug before the fire. But the fun- 
 
SELECTIONS AND STUDIES 63 
 
 niest thing was to see the kitten walking about with the 
 mouse on her back. That always made Dick laugh. 
 
 Adapted from The Nursery. 
 
 STUDIES 
 
 What hint in the first sentence ? What in the third ? What 
 was it that Dick heard ? What hint in his jumping up at once and 
 looking out the door ? What hint in, " l Mew ! mew ! ' it said again " ? 
 What in, " The kitten came in shivering " ? What hint in the next 
 two sentences ? 
 
 What hint in, " Dick tried to find the owner " ? 
 
 What hint in, Oh ! please don't kill the poor thing "? In, I 
 can tame him, I know I can" ? What did Dick think the mouse 
 said ? What hints in the last paragraph ? 
 
 UNCLE PHIL'S STORY 
 
 " Once when I was a little boy," said Uncle Phil, 
 " I asked my mother if I could go with Roy and play 
 by the river." 
 
 " Was Roy your brother? " asked Archie. 
 
 " No, but he was very fond of playing with me. My 
 mother said we might go ; so we went and had a good 
 deal of fun. 
 
 " After a while I took a shingle for a boat, and sailed 
 it along the bank. At last it got into deep water, where 
 I could not reach it with a stick. Then I told Roy to 
 go and bring it to me. 
 
 " He nearly always did what I told him, but this time 
 he wouldn't. I began scolding him, and he ran toward 
 home. 
 
 " Then I picked up a stone and ran after him, and 
 
64 LESSONS IN ENGLISH 
 
 when I got near him he looked around. I threw the 
 stone as hard as I could, and it struck him just above 
 the eye." 
 
 " Oh ! Uncle Phil," cried Rob. 
 
 " Roy staggered, gave a little cry, and lay down on 
 the ground. But I would not go to him. I began to 
 wade in after my boat. All at once the water was 
 nearly up to my shoulders, and I could not stand on 
 my feet. I screamed as I went down the stream, but 
 there were no men about to help me. Just as I was 
 going under, something took hold of me and dragged 
 me to the bank. It was Roy." 
 
 "What did you say to him, Uncle Phil?" asked 
 Archie. 
 
 " I just threw my arms about his neck and cried," 
 said Uncle Phil. 
 
 " What did he say ? " 
 
 " He wagged his tail, and whined softly, and licked 
 my wet face." 
 
 " Oh," said Rob, " was that who Roy was ? " 
 
 And Archie said, " I see now why you are so kind to 
 dogs and other animals, Uncle Phil." 
 
 " Yes," said Uncle Phil, " I have never forgotten that 
 lesson, and I hope you and Rob will remember it too." 
 
 Adapted from Our Little Ones. 
 
 STUDIES 
 
 What hint in the first sentence ? What in the third ? In the 
 fourth ? What hints in the next paragraph ? What hint in, " He 
 nearly always did what I told him, but this time he wouldn't " ? 
 What in, I began scolding him " ? What in, " He ran towards 
 home " ? 
 
SELECTIONS AND STUDIES 65 
 
 What hint in the next sentence ? What in, " I threw the stone 
 as far as I could " ? What hint about Rob in, " Oh ! Uncle Phil " ? 
 What hint in, " Roy staggered" ? In, " Gave a little cry" ? In 
 " And lay down on the ground " ? What in, " But I would not go 
 to him " ? What hint in, " I began to wade in after my boat " ? 
 What hints in the next three sentences ? 
 
 " What hint in, " It was Roy " ? 
 
 " What hint in, " I just threw my arms about his neck and cried " ? 
 What hint in Uncle Phil's next answer ? What hint in Rob's saying, 
 " Oh, was that who Roy was " ? 
 
 THE FROG LEARNS A LESSON 
 
 The soft, silvery light poured down upon the pond, 
 and the water was so bright that a great green frog was 
 using it for a looking-glass. He turned this way and 
 that way, and all the while looked at himself as he saw 
 himself reflected by the water. " Kerchug ! kerchug ! " 
 said he. " What a nice frog I am ! I'm not a bit like 
 that little bird that sits over in that tree. I wouldn't be 
 so small for anything. Just see what a weak little chirp 
 it has. My voice can be heard away over to that farm- 
 house. I think I will sing a song. Kerchug! kerchug!" 
 
 The bird was awakened by the noise, and seeing how 
 bright it was, began to sing. 
 
 "Why he can sing, too," said the frog. "I am not 
 sure but he sings as well as I do. But he is afraid of 
 the water. I believe I will take a dive." He plunged 
 into the water with a splash, and then came up again. 
 The bird flew up into the air, and kept going until it 
 seemed away up in the sky. The frog now looked at it 
 with staring eyes. 
 
 " I can't do that," he said. "I can go into the water, 
 but I cannot go into the sky." 
 
66 LESSONS IN ENGLISH 
 
 Then he looked down upon the ground for a long 
 time, and didn't say a word. 
 
 Adapted from The Christian Advocate. 
 
 STUDIES 
 
 What hint in the first sentence? What in the second? What 
 in, "What a nice frog I am ! Fm not a bit like that little bird"? 
 In, " My voice can be heard away over to that farmhouse"? 
 
 What hint in the frog's saying, " Why he can sing, too. I am not 
 sure but he sings as well as I do"? What in, " But he is afraid of 
 the water " ? 
 
 In, " I believe I will take a dive " ? What hint in the frog look- 
 ing at the bird with " staring eyes"? 
 
 What hint in the last sentence ? Why do you think the person 
 who wrote this story called it, u The Frog Learns a Lesson " ? 
 
 A WISE BOY 
 
 Mr. Hill was busy in his carpenter shop one morning. 
 The door stood open, and he heard a voice outside. He 
 turned and saw a bright-faced boy with a brown suit 
 and a red cap. 
 
 "Good morning, my little man," said Mr. Hill, "what 
 can I do for you ? Do you want a house or a bridge 
 built ? " 
 
 "No, sir," said the boy, "we have a house, and there 
 is a bridge across the creek. If you don't want these 
 shavings under the bench, please, may I have them ? " 
 
 "What are you going to do with them ? Make a bon- 
 fire?" 
 
 " No, sir, I am going to sell them to Mrs. Clark. 
 She'll give me a cent for a basketful." 
 
 "Well, you may have a basketful," said Mr. Hill. 
 
SELECTIONS AND STUDIES 67 
 
 So Johnny brought a basket and picked up the shav- 
 ings. When he had nearly filled the basket, he saw 
 something bright on the floor. Then he looked up at 
 Mr. Hill. He then quickly put. it into his pocket, filled 
 the basket very rapidly, and slipped quietly out of the 
 house. He did not even thank Mr. Hill for the shav- 
 ings. But his face was cloudy. 
 
 Presently he stopped, and seemed to be thinking very 
 hard about something. He took it out of his pocket. 
 It was a dime. He had never in all his life before had 
 so much money at one time. Then he said to himself : 
 "This money is not mine. It is Mr. Hill's. If I keep 
 it, I shall be a thief. But I want it very much, and Mr. 
 Hill has plenty more dimes. He doesn't know it was 
 on the floor. But it would be stealing. And what 
 would mamma say ? " 
 
 He ran back to Mr. Hill, and said, " Here is a dime 
 which I found there on the floor." 
 
 " You did, eh ? " said Mr. Hill. " Well, it was honest 
 to give it to me. You'll never be sorry for being honest." 
 Mr. Hill started to give the dime back to Johnny, and 
 then he stopped, and thought a moment. Then he put 
 the dime in his pocket as he said, " Well, Johnny, you 
 may get a basket of shavings every day, if you want 
 them." 
 
 "Thank you, sir," said Johnny j and he went away 
 with a bright face, whistling a merry tune. 
 
 STUDIES 
 
 What hint in the first sentence? What hint in the door standing 
 open? What in, "bright-faced boy"? What hint about Mr. Hill in 
 the way he speaks to the boy ? What hints about the boy in his 
 
68 LESSONS IN ENGLISH 
 
 answer? "Make a bonfire " hints what? What hint about the boy 
 in the next sentence? 
 
 What about Mrs. Clark? What hint in, "Well, you may have 
 a basketful "? What hints in the next two sentences? 
 
 What hint in, "Then he looked up at Mr. Hill "? What hint in 
 the next sentence? In "He did not even thank Mr. Hill"? In, 
 " But his face was cloudy 1 '? What hint in the first sentence of the 
 next paragraph? What in the next three sentences? In the words 
 he said to himself, what hints about Mr. Hill? What about his 
 mother? What about himself? What hint about the boy in what 
 he did with the dime? What hints about Mr. Hill in the next 
 paragraph ? 
 
 What hint in, " He went away with a bright face, whistling a 
 merry tune " ? 
 
 A STRANGE CHRISTMAS PRESENT 
 
 It was a dark afternoon, with snow on the ground. It 
 was nearly night, too. Everybody had been busy all 
 day. Evergreen trees had been carried to many homes. 
 The store windows that for a week or two had been 
 filled with toys were now rather bare. 
 
 Mr. Lennox was just turning the corner near his 
 home. There was his little five-year-old Bertha drag- 
 ging a little two-year-old baby after her. 
 
 " Where have you been, Bertha ? " he said. 
 
 " Oh ! I have been to Mrs. Brown's after this baby/' 
 she said. 
 
 " Why, what are you going to do with it ? " 
 
 " They are getting the Christmas tree ready, and I 
 have nothing to give mamma. I heard her say she 
 would like something that all of us would enjoy, and 
 you know we all enjoy babies. I shall put it on the 
 Christmas tree for her." 
 
SELECTIONS AND STUDIES 69 
 
 Papa laughed. Then he said, " I am afraid, my little 
 girl, that we have no right to take Mrs. Brown's baby to 
 give to mamma. Is Mrs. Brown willing to give him 
 away ? " 
 
 " I did not ask her," said Bertha. " You know she has 
 seven, and I heard her tell mamma she did not know 
 how she was going to get food and clothes for them all 
 now that Mr. Brown is dead." 
 
 Bertha's voice trembled, but she tried to hide the 
 tears that were in her eyes. 
 
 Her papa looked at her a minute, and then he looked 
 at the baby. He looked at the pretty round face, and 
 the large blue eyes that looked right into his, at the soft 
 golden curls that fell about the baby's neck, at the little 
 dimpled hand that Bertha held in her own. Then he 
 said, " I am afraid, dear, that it cannot be done, but we 
 will take baby home with us now, and see about it." 
 
 " But you must hide him, papa, so mamma can't see 
 him yet." 
 
 So the baby was given to the nurse while Mr. Lennox 
 went back to see Mrs. Brown. Mrs. Brown cried very 
 much when Mr. Lennox asked her if she would give the 
 baby away. She could not talk at first. After a while 
 she told him he might have the baby, but begged him to 
 let him visit her often, for a while at least. Mr. Lennox 
 told her that she might have the baby come just as often 
 as she liked. The tears were in his eyes, too. 
 
 When the Christmas tree was lighted, and the doors 
 thrown open, there in front of it stood the baby. 
 Pinned to his dress was a card on which was written, 
 " For mamma, from Bertha and Mrs. Brown." 
 
 Adapted from The Nursery. 
 
70 LESSONS IN ENGLISH 
 
 STUDIES 
 
 What hint in the first sentence ? What in the fourth ? In the 
 fifth ? What hint in, " Papa laughed " ? In the paragraph begin- 
 ning, " I did not ask her," what hint about Bertha ? What about 
 Mrs. Brown ? What hint in, " Bertha's voice trembled " ? In, " But 
 she tried to hide the tears" ? What hints in the next sentence ? 
 In the next ? What hint in, " You must hide him " ? What hint 
 in, Mrs. Brown cried," etc. ? In, " Could not talk at first " ? What 
 hint about Mr. Brown in, " Tears were in his eyes, too " ? 
 
 THE SUGAR THIEF 
 
 Nan often helped herself to sugar without being asked. 
 
 " Dear me," said mamma, " this must be stopped, or 
 Nan will be ill." So she called Nan to her and said, 
 " Now, Nan, you must not take any more sugar without 
 asking. Do you understand ? " 
 
 " Yes, mamma," said Nan. 
 
 That evening there was company for supper. Nan sat 
 beside a gentleman whom she liked very much. He had 
 been telling her a funny story, and had passed things 
 to her just as if she were a grown lady. But now he 
 was talking to her sister Kate. Just then Nan's mamma 
 passed her some " cambric tea." Nan tasted it, and 
 then looked at the sugar bowl. Her face was cloudy. 
 But presently it grew brighter. She slipped her hand 
 into her apron pocket. When it came out there was a 
 lump of sugar in her fingers. She was so busy that she 
 did not notice anybody else. She put her hand into her 
 pocket seven times, and, after each time, she dropped 
 a lump into her tea. 
 
 " Why, Nan ! " Nan looked up and turned very red 
 
SELECTIONS AND STUDIES 71 
 
 in the face. Everybody at the table was looking at her. 
 The gentleman whom she liked so well held his napkin 
 to his mouth for some time. 
 
 The next morning her mamma came to her with a 
 large piece of cardboard. On it was printed, " Sugar 
 thief." The letters were very large. 
 
 " What is it for, mamma ? " said Nan, in a shaky 
 voice. 
 
 " For this," said mamma, as she turned Nan around 
 and pinned it on her back. 
 
 " Now you must wear this all day," her mamma said. 
 " Go out and play now." 
 
 " Must I go out, mamma ? " 
 
 " Not unless you want to," said her mother. 
 
 " May I stay in the room ? " 
 
 " Certainly, if you choose." 
 
 And so all that day Nan stayed in her room, and 
 when at night her mamma came to take off the card- 
 board, Nan told her that she never, never would take 
 sugar any more without asking. 
 
 Adapted from Our Little Men and Women. 
 
 STUDIES 
 
 What hint in, " Nan often helped herself to sugar without being 
 asked " ? In the second sentence what hint about Nan ? What 
 about her mother ? What hints in what her mother says to her ? 
 
 What hint in the first sentence of the long paragraph ? What 
 hint in the third ? What hint in her mother passing her some 
 " cambric tea " ? What in, " Nan tasted it, and then looked at the 
 sugar bowl " ? In, " Her face was cloudy " ? In, " But presently it 
 grew brighter " ? In, " She slipped her hand into her apron pocket " ? 
 In the next sentence ? In, " She was so busy that she did not notice 
 anybody else " ? In the next ? " Why, Nan ! " hints what ? What 
 
72 LESSONS IN ENGLISH 
 
 hint in, " Turned very red " ? What hint in, "The gentleman whom 
 she liked so well held his napkin to his mouth for some time " ? 
 Was it because she had taken the sugar ? 
 
 What hint in :he next paragraph ? What hint in, " A shaky 
 voice " ? What hints in what her mother says to her in the next 
 two sentences ? What hint in, " Must I go out, mamma " ? In, 
 "Not unless you want to"? In, "May I stay in the room"? 
 
 What hint in the last paragraph ? 
 
 WHO GOT THE NUTS? 
 
 "Yes," said Tom, "it's about time to gather our nuts. 
 I'm glad we found this tree. It's too late to get them 
 to-day, but let's come here next Saturday." 
 
 "All right," said Harry. "I don't believe any one 
 else knows about this tree. Just see the nuts on the 
 tree and on the ground. What a lot ! " And off they 
 went through the woods toward home. 
 
 But some one else did know about that tree. From a 
 hole in its trunk four bright eyes had been peeping, and 
 four ears had been hearing what was said. 
 
 " So they think they'll get them all," said Father 
 Squirrel. " Well, we'll see, my dear. Now you just 
 keep on gathering nuts as fast as possible, while I run 
 and tell our friends and neighbors to come as soon as 
 they can." And down he jumped from limb to limb, 
 and away he scampered through the woods, while Mrs. 
 Squirrel kept busily at work filling her cheeks with nuts 
 until one would think she had the mumps. Then she 
 would run up the tree to hide the nuts. 
 
 That night there was a heavy frost, and many nuts 
 fell to the ground. The next day a number of squirrels 
 came, and they worked hard for several days. How 
 
SELECTIONS AND STUDIES 73 
 
 they chattered as they frisked about, and how happy 
 they all seemed as they worked away. 
 
 When Saturday came, there were the boys, each with 
 a bag. 
 
 " I shall keep my nuts till Thanksgiving," said Harry. 
 
 " I mean to get enough to last all winter," said Tom. 
 " We can if we find a few more trees like this one." 
 
 " I shall give half of mine to my sister Rose," said 
 Harry, "for she makes nice nut candy." 
 
 " Here we are," said Tom. " Now for work. I hope 
 these bags are big enough to hold them all." 
 
 "There are not many left on the tree," said Harry. 
 " You know there has been a heavy frost since we were 
 here. But the ground will be covered with them." 
 
 " Some one must have been here," Tom said. " Did 
 you tell our secret to anybody ? " 
 
 " No, indeed. But some one has surely found it out." 
 
 Up in the tree were the two squirrels looking down 
 on the boys again. 
 
 "The squirrels may have taken some," said Harry, 
 "but they couldn't carry off very many." 
 
 " Couldn't they ? " whispered Mr. Squirrel to his wife ; 
 and they laughed so they had to creep out of sight in 
 the hole lest the two boys should hear them. 
 
 From The Normal Instructor. 
 
 STUDIES 
 
 What hint in the first sentence ? What in, " I'm glad we found 
 this tree " ? What in, " It's too late to get them to-day " ? What 
 hint in the next sentence ? What hints in the next paragraph ? 
 What is meant by the four bright eyes and four ears ? What hint 
 in, " So they think they'll get them all " ? What hints about Father 
 Squirrel in the next two sentences ? Can you find a hint about Mrs. 
 
74 LESSONS IN ENGLISH 
 
 Squirrel in the next? What hint about the squirrels in the next 
 paragraph ? 
 
 What hint about Harry in, " I shall keep my nuts till Thanks- 
 giving"? What hint about Torn in the next? What hint about the 
 tree? Find a hint about Harry in the next. What hint in, " I hope 
 these bags are big enough to hold them all"? What hint in, 
 " Some one must have been here "? In, " Did you tell anybody " ? 
 What hint in, " But some one has surely found it out "? What hint 
 in what Harry next says? What in the last sentence? 
 
 DIVIDING 
 
 A ragged boy sat down on a doorstep and began to 
 eat a slice of bread. He took large bites, chewed 
 rapidly, and swallowed without chewing well. He 
 had only started his meal, when a little dog came up, 
 wagged his tail, and crouched down beside him. 
 
 "Wot you want ? " said the boy. 
 
 The dog looked wistfully and whined. 
 
 " This ain't no bone ; git ! " . 
 
 But he had not spoken crossly, and the dog stayed. 
 
 " Do you want this wuss nor I do ? " asked the boy. 
 
 The dog gave a quick bark, and the boy threw him 
 the remainder of the bread. Adapted from The Olive Leaf. 
 
 Teacher. " A ragged boy sat down on a doorstep, and began to 
 eat a slice of bread." 
 
 " Does it tell the kind of person, how somebody feels, or the con- 
 dition of somebody ? " 
 
 Pupil. " It tells the condition of somebody. " 
 
 Teacher. " What was his condition ? " 
 
 Pupils. " He is poor. 11 " He is hungry. 11 " He has no place to 
 go but the doorstep." 
 
 Teacher. " * He took large bites, chewed rapidly, and swallowed 
 without chewing well, 1 tells what? 1 ' 
 
 Pupil. u How somebody feels." 
 
SELECTIONS AND STUDIES 75 
 
 Teacher. " How does he feel? " 
 
 Pupils. "He's awful hungry." " He hadn't had anything for 
 a long while, and so he ate greedily.' 1 
 
 Teacher. " He had only started his meal, when a little dog came 
 up, wagged his tail, and crouched down beside him." 
 
 "That tells what?" 
 
 Pupil. " How the dog feels." 
 
 Teacher. " How does he feel? " 
 
 Pupils. "The dog feels hungry for the bread." "He was 
 hungry, and went up and laid down beside the boy, wishing the 
 boy would give him some." 
 
 Teacher. " < Wot you want? ' said the boy." 
 
 " Now, what does that tell ? " 
 
 Pupils. " Tells the condition of the boy." " Tells something 
 about the boy." 
 
 Teacher. " What does it tell about the boy ? " 
 
 Pupils. " He doesn't talk plain." " No one has taught him to 
 talk nicely." " He doesn't know any better." " He had his mouth 
 so full he couldn't talk plain." 
 
 Teacher. " The dog looked wistfully and whined." 
 
 "What does that tell?" 
 
 Pupil. " It tells how the dog feels." 
 
 Teacher. " How does he feel ? " 
 
 Ptipils. " He was hungry." " He saw the bread, and wished 
 the boy would give him some." " He cried for something to eat." 
 " His whining said, ' Please give me a little bit of bread.' " 
 
 Teacher. " This ain't no bone ; git! " 
 
 "What does that tell?" 
 
 Pupil. " It tells something about the boy." 
 
 Teacher. " What does it tell about him? " 
 
 Pupils. " No one taught him to talk right." " He was too poor 
 to go to school." "He had no one to take care of him." "He 
 was so hungry he wanted it all." 
 
 Teacher. "But he had not spoken crossly, and the dog stayed." 
 
 " Does that tell the kind of person, how some one feels, or that 
 something has happened, or some condition? " 
 
 Pupils. "It tells two things." "It tells what kind of a boy." 
 " It tells more about how the dog felt." 
 
;6 LESSONS IN ENGLISH 
 
 Teacher. " What does it tell about the boy ? " 
 
 Pupils. " He's not cross." " He's kind to the dog." 
 
 Teacher. " What does it tell about the dog? " 
 
 Pupils. " He's so hungry." " He's so hungry he could eat the 
 bread instead of the bone." 
 
 Teacher. " Do you want this wuss nor I do ? " 
 
 "What does that tell?" 
 
 Pupil. " It tells something about the boy." 
 
 Teacher. " What does it tell about him ? " 
 
 Pupils. "The boy wanted it pretty bad." "He wants to see 
 who wants it worst." " He thought he ought to give him some." 
 
 Teacher. " The dog gave a quick bark." 
 
 "What does that tell?" 
 
 Pupil. " It tells how the dog felt." 
 
 Teacher. " What does it tell about how the dog feels?" 
 
 Pupils. " The dog was hungry." " He was hungry and wanted 
 it." " He wanted it, and thought the boy would understand, and 
 would give him some." 
 
 Teacher. "The boy threw him the remainder of the bread." 
 
 " Does that tell you the kind of boy, how some one feels, or some- 
 thing about some one? " 
 
 Pupil. " It tells the kind of boy." 
 
 Teacher. " What kind of boy was he? " 
 
 Pupil. " He was good, kind, and free-hearted." 
 
 Teacher. "What kind of a friend would he be?" 
 
 Pupils. " Kind." " He would be unselfish." 
 
 DAVIE AND MAY 
 
 Mrs. Lee had been out all day ironing for some rich 
 people. She was just opening the door of her home. 
 It was not a pretty room. It had no carpet on the 
 floor, and no pictures on the wall. But side by side sat 
 Davie and May on the little wooden bench. Davie's 
 arm was around his sister's neck, and he was reading to 
 her. 
 
SELECTIONS AND STUDIES 77 
 
 When his mother came, Davie ran to bring her a 
 chair, and May ran to show her the book, saying, " Oh ! 
 mamma, see what a pretty book Mrs. Turner gave us 
 for carrying the clothes home so carefully. She said 
 not one garment was crumpled." 
 
 Mrs. Lee sat down to rest, and to look at the book. 
 Then she said, " I am very glad to have such good 
 children. It is better than being rich and having a fine 
 
 house." 
 
 STUDIES 
 
 What hint in the first sentence? Does it tell something has hap- 
 pened, or how some one feels, or the kind of person, or some condi- 
 tion of a person? 
 
 " She was just opening the door of her home." What does that 
 tell? What hint in the third sentence? What hint in, "It had no 
 carpet on the floor, and no pictures on the wall "? What kind of a 
 hint? How does this hint differ from the one in, "It was not a 
 pretty room " ? 
 
 What hint in the next sentence? What kind of a hint is it? 
 " Davie's arm was around his sister's neck, and he was reading to 
 her." What hint about Davie? What hint about May? Can you 
 tell the kind in each case? 
 
 " When his mother came, Davie ran to bring her a chair." 
 What hints? Does it tell how he felt or the kind of boy he was? 
 What hints about May and Mrs. Turner in the remainder of the 
 sentence? What kind of hints are they? 
 
 What hint in, " She said not one garment was crumpled"? 
 
 What does the next sentence tell ? 
 
 What hints in the last two sentences? What kind? 
 
 JIM, THE BOOTBLACK 
 
 Jim was a little bootblack who took care of his mother 
 and sister. He wanted to buy a cake for them, for it 
 was Christmas Eve. All day he tried to get work, and 
 
78 LESSONS IN ENGLISH 
 
 had had nothing to eat. When night came he fell in 
 the snow. A lady picked him up. She looked at his 
 face, then put a dollar in his hand. 
 
 STUDIES 
 
 What hint in, "Jim was a little bootblack"? What does it tell of 
 Jim? What kind of a hint is it then? What hint in the remain- 
 der of the sentence? Does this tell the same thing of Jim that the 
 first part did? What does it tell? What kind of hint is it? What 
 hint in the second sentence? What kind? "All day he tried 
 to get work." What hints in that? What kind? What hint in, 
 "And had had nothing to eat"? What hint have we had that 
 this makes stronger? "When night came he fell in the snow." 
 What hint? Why did he fall? What kind of a hint is it? What 
 hint in, "A lady picked him up"? What kind? What hint in, 
 " She looked at his face"? Why did she do that? What kind of 
 hint is it? What hint in the remainder of the sentence? What 
 kind? Can you see a hint about Jim in that? What is it? 
 
 A LITTLE BOY'S VICTORY 
 
 Teddie's mother had left a basket of fine, ripe pears 
 on the table, and had told him not to take any. 
 
 Teddie got a stool a-nd stood on it. The pears looked 
 so nice ! Then he smelled one, and his mouth watered. 
 He said, " Mamma will not miss it if I take just one." 
 But in a minute he took his hand away from the nicest 
 one in the basket and said, " No, I will not. I will 
 just get down and run into the other room as fast as I 
 can and stay there until mamma comes back." 
 
 When his mamma came back she looked at the stool 
 and at the basket, and a smile came to her face. She 
 then took a pear and gave it to him. 
 
SELECTIONS AND STUDIES 79 
 
 STUDIES 
 
 Which of these things does the hint in the first sentence tell? 
 
 The kind of person. 
 
 How somebody feels. 
 
 A state or condition. 
 
 That something has happened. 
 
 Where something happened. 
 
 When something happened. 
 What is the hint? When did it happen? 
 
 What hint in, " Teddie got a stool and stood on it "? What does 
 that kind of hint tell? What hint in the next two sentences? 
 What kind? What hint in his saying, "Mamma will not miss it if 
 I take just one " ? What kind is it ? What do you think of Teddie ? 
 What hint in, " But in a minute he took his hand away from the 
 nicest one in the basket and said, ; No, I will not'"? What kind? 
 What hints in the next sentence? What kind? Now, what do you 
 think of Teddie? Do you like him more or less for having thought 
 badly of him at first ? 
 
 " When his mamma came back she looked at the stool and at the 
 basket," hints what? What kind is it? What hint in, "A smile 
 came to her face " ? Why did she smile ? Be careful to get all of 
 the hint. What hint in the last sentence ? What kind is it? 
 
 JOE 
 
 Joe had to drive the cow to pasture every morning ; 
 he had to bring in the wood and water ; three times 
 a week he had to churn ; he had to feed the pigs and 
 chickens, and run upon errands. 
 
 Joe's parents had died when he was a baby, and he 
 had been put in the poorhouse. Farmer Smith had 
 taken him to raise. He wanted him to do chores and 
 run upon errands. 
 
 Joe got up at five o'clock in the morning and worked 
 till eight, for he could not go to school until all the work 
 
8o LESSONS IN ENGLISH 
 
 was done. Sometimes he hurried off without eating his 
 breakfast, for he would not be late. Sometimes he ate 
 his dinner as he did the errands. 
 
 The boys and girls all liked Joe. They used to give 
 him a part of their dinners, and they divided their 
 apples with him. He always had his lessons. He 
 never was idle nor noisy in school. 
 
 Joe is a man now. I went the other day to hear him 
 preach. He inquired about everybody around his old 
 home. When he spoke of Mr. and Mrs. Smith, I asked 
 if he ever felt hard toward them. " No, indeed," said 
 he, " they did not mean to be unkind, and they made 
 me learn how to work hard. There are so many things 
 to be thankful for, that I forgot the unpleasant things. 
 And I am laying aside a little every day to help poor 
 boys along." And I noticed as we walked down the 
 street, that he spoke to every boy he met, and every 
 boy spoke to him. 
 
 STUDIES 
 
 What hint in the first sentence? What kind of hint is it? Does 
 it tell the kind of person, how some one feels, that something has 
 happened, or some state or condition? 
 
 What hint in, "and he had been put in the poorhouse "? What 
 kind? "Farmer Smith had taken him to raise." What hint? 
 What kind of hint is it? " They wanted him to do chores and run 
 upon errands." What hint? Do you think the same of Farmer 
 Smith now as you did in the last sentence? Why? 
 
 In the next sentence, what hint about Joe? What hint about 
 the people he lived with? What kind of hint is each? 
 
 " Sometimes he ate his dinner as he did the errands." What 
 hint in that? What hint that we have had does this make stronger? 
 
 In the next four sentences what kind of hints? What kind of 
 a boy do they tell you Joe was? 
 
 What hint in the next two sentences? What kind of a hint? 
 
SELECTIONS AND STUDIES 81 
 
 What hint in, " He inquired about everybody around his old home "? 
 What hint in what he said about Mr. and Mrs. Smith? What hints 
 in, " I am laying aside a little every day to help poor boys along " ? 
 What do these last hints tell? 
 
 What hints in the last sentence ? What kind of a boy was Joe ? 
 What kind of a man was he? 
 
 FUN FOR TWO 
 
 " I don't want to study my lesson," said Robbie. 
 
 "I don't either," said Ned; "I'd a great deal rather 
 go out into the woods. But I believe I'll study." 
 
 So Ned sat down with his book. But Robbie idled 
 the time away, and did not even open his book. 
 
 "You had better learn your lesson," said Ned. 
 
 " It's too hard," said Robbie. 
 
 " It isn't hard when you just make up your mind, and 
 pitch into it," said Ned. 
 
 After a while Ned jumped up, and said, " I know my 
 lesson." Robbie had just begun his. Just then their 
 father came into the room, and said, " I have come to 
 see if two little boys have their lessons, and if so, to take 
 them with me in the sleigh." 
 
 "Hurrah! hurrah!" cried Ned; "I have mine." 
 And he danced all around the room. 
 
 "Oh, papa, can't you wait just a little while?" said 
 Robbie. His father looked doubtful. Then Robbie's 
 eyes filled with tears as he said, " If you will, I will not 
 idle again when I have my lesson to get." 
 
 Ned had stopped dancing, and was now looking very 
 sober. When he saw 'his father hesitate he said, 
 " Please wait, papa, and I will help him with it." 
 
 Then his father said, " I will wait just twenty minutes, 
 
82 LESSONS IN ENGLISH 
 
 and I will do it for Ned's sake ; but Robbie must get his 
 lesson by himself." 
 
 Robbie's face brightened, and he set to work busily. 
 In twenty minutes he was ready, and the two boys went 
 off shouting, and swinging their caps. 
 
 STUDIES 
 
 What hint about Robbie in the first sentence? What hint about 
 Ned in the second? What do those hints tell? 
 
 What hint in, "< You had better learn your lesson,' said Ned"? 
 "'It's too hard,' said Robbie." What does that tell about him? 
 What hint in the next sentence? What hint about Ned have we 
 already had which this hint makes stronger? What hint in, " After 
 a while Ned jumped up, and said, i I know mine'"? What kind of 
 a hint is it ? 
 
 What hint in what their father said? What kind? 
 
 " ' Hurrah, hurrah,' cried Ned ; * I have mine.' And he danced 
 all around the room." What does that kind of a hint tell? What 
 is the hint? 
 
 What hint in the next sentence? What hint in, "His father 
 looked doubtful"? What kind? In the next sentence what does 
 the hint tell? What is the hint? 
 
 What hint about Ned in the next two sentences? What kind? 
 
 Why did his father say, "for Ned's sake"? Why, "but 
 Robbie must get it for himself"? What kind of hints are they? 
 Why? 
 
 What hint in, " Robbie's face brightened"? What kind of a hint 
 in the last sentence? What is the hint? 
 
 Are Robbie and Ned alike? Tell what hints make you think so. 
 
 HOW FRED OBEYED MAMMA 
 
 Fred was out in the woodshed making a boat. After 
 mamma had called him three times, he came to see 
 what she wanted. 
 
SELECTIONS AND STUDIES 83 
 
 "Take this bucket," she said, " and your own hoe, 
 and go and get me some potatoes for dinner." 
 
 " Oh, mamma," he whined, " why can't Silas do it ? " 
 
 " Never mind why," answered his mother, "it is 
 enough that I ask you to do it. I know you can, so 
 run on." 
 
 Fred ran on, but he was thinking about the boat, and 
 not about the potatoes. 
 
 On the way to the field was a nice sandy place where 
 Fred liked to play. "Let me see," said he, "shall I 
 make my boat like Jem Barton's ? " And down he went 
 on the warm sand. The bucket rolled over on its side. 
 Fred pushed his hat over his curly hair, leaned his 
 round cheeks on his chubby hands, and went on think- 
 ing, but not about the potatoes. 
 
 At last Fred said out aloud, " I suppose I must get 
 those old potatoes now." He filled the bucket half full, 
 and started back to the house. 
 
 " Here they are," he called out, coming into the 
 kitchen. "Are these enough ? " 
 
 His mother looked at him with a sober face, and then 
 said, " Yes, plenty ; but they are too late for dinner. 
 You may eat your dinner now, and when you are through 
 you may go into the next room and stay for an hour to 
 think about what you have done." 
 
 Fred went to the table, and found some bread and 
 butter, and some water. He looked at his mother in 
 surprise. " Oh, I thought I would rather read than get 
 you a good dinner," she said. 
 
 After a moment Fred hung his head and walked 
 slowly back to the woodshed. 
 
84 LESSONS IN ENGLISH 
 
 STUDIES 
 
 What hints in the first two sentences? What kind of hints are 
 they? What hint in "whined"? In Fred's question? What kind 
 is each? What kind of hint in the next sentence? What does it 
 tell you of the mother? 
 
 Find the hints in the paragraph beginning, " On the way to the 
 field." Tell the kind of each. 
 
 What hint in, "I suppose I must get those old potatoes now"? 
 Why did he say old "? What kind of a hint is it? He filled the 
 bucket half full." What does that tell? Then what kind of a hint 
 is it ? What hint in, " Are these enough " ? 
 
 What hints in his mother's answer? What kinds are they? 
 What did Fred find on the table ? Why was it there ? What hints ? 
 What hint in, " He looked at his mother in surprise "? What kind 
 of hint is it? Why did his mother answer as she did? Any hint in 
 the answer? 
 
 What hint in the last sentence? What kind? 
 
 What kind of boy was Fred? What makes you think so? Tell 
 about his mother. 
 
 A LITTLE CHRISTIAN 
 
 " Don't you just despise girls that wear old dresses 
 with holes in them ? " said Ellie to Katie in a loud voice. 
 They were playing under the shady trees next to the 
 stone wall that separated Ellie's yard from Lotty 
 Dame's. Lotty was on the other side of the wall, and 
 Ellie knew it. It was Lotty who was wearing just such 
 a dress. 
 
 "Yes," said Katie, "and her father isn't worth more 
 than a hundred dollars, anyway. And they live in the 
 worst old house ! All the windows are pasted up with 
 paper or something ! And " 
 
 Just then a face rose up like a little white moon on 
 
SELECTIONS AND STUDIES 85 
 
 the other side of the wall. It looked at them a minute, 
 then the little mouth quivered, two tears rolled down the 
 cheeks, and the face was gone. 
 
 "It's a pretty house!" sobbed Lotty, running home 
 as fast as she could. " It's all covered with roses and 
 red trumpet-flowers and syringas and lilacs. And there 
 are only two or three broken windowpanes, and there 
 would not be any if papa hadn't been sick so long ! " 
 
 Lotty told her mother the whole thing. " Oh ! well," 
 said her mother, patting her hair, "all you've to do is to 
 be a Christian, and never mind them. Take the baby 
 now, and go out and get some roses and other flowers 
 to take to school with you to-morrow morning. Yes, 
 yes, to give to those girls, with the rest. Don't make 
 any difference. No matter what they are, you just be 
 a little Christian." Adapted from The Little Pilgrim. 
 
 STUDIES 
 
 What hint in the question in the first sentence? What in Ellie's 
 asking it in a loud voice? What kind are they? What hint in the 
 next sentence? What kind of hint is it? What hint concerning 
 Ellie in, " Lotty was on the other side of the wall, and Ellie knew 
 it"? What kind is it? What hints about Lotty in the next sen- 
 tence? What kind? 
 
 In the next paragraph what hint about Katie? What about 
 Lotty's people? What kind is each? What hint in the unfinished 
 sentence, "And " ? 
 
 What hint in the next sentence? What kind ? In the remainder 
 of the paragraph, what hints? What kind? " < It's a pretty house,' 
 sobbed Lotty, 1 ' hints what? Why "Running home as fast as she 
 could"? What hint? In the next two sentences what hints at>out 
 the home? What about Lotty 's father? What kind is each? 
 
 What hint in, " Lotty told her mother the whole thing"? What 
 kind ? What in, Patting her hair " ? What hints of her mother in 
 
86 LESSONS IN ENGLISH 
 
 the remainder of the paragraph? What kind? Which of the three 
 girls would you rather have for a friend ? Why ? 
 
 WHAT THE BROOK SAW 
 
 It saw Tommy slyly creeping through the fence into 
 the watermelon patch. It saw him sit down beside a 
 fine watermelon. 
 
 It saw him take out his knife and cut the melon. 
 
 It saw him eat and eat, until nothing was left of the 
 fine watermelon except the rind. 
 
 It heard him say, " What shall I do with this rind ? 
 Papa told me not to touch the watermelons. I will 
 throw it into the brook." 
 
 The brook was sad, although it did what Tommy 
 wanted it to do. 
 
 The next day the brook saw Tommy and his father 
 coming toward the watermelon patch. They were 
 walking hand in hand. 
 
 It heard Tommy tell his father how naughty he had 
 been. 
 
 Then the brook sparkled and danced on its way, and 
 sang as it went along, " I'm glad ! I'm glad ! " 
 
 Adapted from Little Men and Women. 
 
 STUDIES 
 
 In the first sentence, what hint in " slyly creeping " ? Can you tell 
 the kind of hint? What hint in, " It saw him sit down beside a fine 
 watermelon" ? What kind is it? In the next two sentences, what 
 hints? What kind? What hints in, "What shall I do with this 
 rind"? What hint in, "Papa told me not to touch the water- 
 melons"? What in, "I will throw it into the brook"? What do 
 these hints tell you of Tommy? Then what kind of hints are they? 
 
SELECTIONS AND STUDIES 87 
 
 What hint in, " The brook was sad " ? How did the brook feel ? 
 What kind of hint is it then? 
 
 What hints in what the brook saw the next day ? What kind is 
 each? What hint in, " It heard Tommy tell his father how naughty 
 he had been "? What kind of hint is it? 
 
 What hint in, "Then the brook sparkled and danced on its 
 way"? Why did it ? What kind of hint is it then? The brook 
 sang too. What do you think it sang ? What hint in its sing- 
 ing, " Tm glad ! Pm glad " ? Why did the brook care, do you 
 think? 
 
 STINGY DAVY 
 
 Davy was a little boy with light curly hair, dark blue 
 eyes, and bright rosy cheeks. But whenever he got 
 anything good to eat he did not share it with his brothers 
 and sisters. 
 
 One day he went into the kitchen, where his mother 
 was at work, and saw a saucer of jelly on the table. 
 
 " May I have that jelly ? " asked Davy. 
 
 " Mrs. White just sent it over to me," said his mother, 
 "but you may have it if you will not be stingy." 
 
 He took the saucer and went out into the yard. He 
 looked around just a little bit and did not see any of 
 the children, then he very quietly slipped into the barn 
 and up into the hayloft. Just as he began to eat the 
 jelly, he heard his sister Fannie calling him ; but he did 
 not answer. 
 
 When he had eaten the jelly he went down into the 
 meadow lot and played with the white calf. Then he 
 hunted for hens' nests about the barn and did not go to 
 the house for a long time. When he did go he slipped 
 in so quietly that nobody heard him. 
 
 Presently Fannie came into the room where he was. 
 
88 LESSONS IN ENGLISH 
 
 "Why, Davy," she said, " where have you been this 
 long time ? We hunted everywhere for you." 
 
 " What did you want ? " he said gruffly. 
 
 " Mother gave us a party," said Fannie. " We had 
 our dolls' dishes set on a little table under the big tree 
 by the porch ; and we had strawberries, cake, and 
 raisins. Just as we sat down to the table, Mrs. White 
 saw us from her window and sent us a big bowl of ice- 
 cream and some jelly that she had left from her dinner 
 yesterday. Oh, we had a fine time ! You ought to 
 have been with us." 
 
 When Fannie first began to tell about the party, 
 Davy's eyes opened wide. Then he frowned and grew 
 red in the face. When she finished he walked away 
 with his head hanging down. 
 
 Adapted from Our Little Ones. 
 
 STUDIES 
 
 What hint in the second sentence ? What kind of a hint is it ? 
 
 What hints in the next two sentences ? What kind ? " Mrs. White 
 just sent it over to me, but you may have it if you will not be stingy." 
 What hint about Mrs. White ? What hint about the mother ? 
 What about Davy ? What kind is each ? What hint in, " He 
 looked around just a little bit " ? What hint in his slipping quietly 
 into the barn and up into the haymow? What do they tell you about 
 Davy ? What hint in the next sentence ? What kind ? " But he 
 did not answer," hints what ? What kind of a hint is it ? Find 
 the hints in the next paragraph. Tell the kind of each. 
 
 What hints about Fannie in the next two sentences ? What 
 kind ? What hint in " gruffly" ? What kind of hint ? In the next 
 two sentences what hint about the mother ? About Fannie ? What 
 kind ? What hints about Mrs. White in the next sentence ? (Two 
 kinds.) What hints in, " Oh, we had a fine time ! You ought to have 
 been with us " ? What kind of hint is it ? 
 
SELECTIONS AND STUDIES 89 
 
 What hint in, " His eyes opened wide " ? What hint in, u Then 
 he frowned and grew red in the face " ? What kind is it ? What 
 hint in the last sentence ? How did he feel as he walked away ? 
 What makes you think so ? 
 
 KITTY'S CHRISTMAS PRESENT 
 
 It was hard for little Tom to get to sleep that night. 
 He did not want to go to bed when it was time. After 
 he had gone, he would rise up in bed every few minutes 
 and listen. But after a while he fell asleep. 
 
 The next morning he awoke very early, and although 
 it was very cold he jumped out of bed and ran into the 
 sitting-room. He looked first at the place where he had 
 hung his stocking. The stocking was full. It took him 
 some time to get all the things out. 
 
 Then there was a pile of presents on the chair under 
 the stocking. " Everybody in the house has given me 
 a present, Kitty," he said to the old cat that lay curled 
 up on the rug. 
 
 He showed Kitty everything, and she seemed to be 
 pleased. But when he put her in the new cart, and 
 started to give her a ride, she jumped out and ran away. 
 Tom frowned at her, stamped his foot, and said, " I don't 
 care, you are the only one in the house that did not give 
 me a present, anyway." And then he threw a block 
 at her. 
 
 Later in the day Tom was playing with his blocks. 
 His cart stood near, and in it was his nice, warm fur 
 cap. Kitty came in with a little white kitten in her 
 mouth. She went to the cart and put the kitten in 
 Tom's cap. 
 
 Tom clapped his hands and shouted. When he could 
 
9 o LESSONS IN ENGLISH 
 
 stop laughing long enough, he said, " Kitty has brought 
 me a Christmas present. Just see what a pretty one it 
 is, too." He thought Kitty was the smartest cat in the 
 world. He took the best kind of care of the kitten, and 
 always called it his Christmas present from Kitty. 
 
 Adapted from The Nursery. 
 
 STUDIES 
 
 What hint in the first sentence ? Does it tell the kind of person, 
 how somebody felt, something about a happening, or a state or con- 
 dition ? What hints in the next two sentences ? What kind ? 
 
 What hint in, " The next morning he awoke very early " ? What 
 in the remainder of that sentence ? What does the next sentence 
 hint as to time ? Then what kind of a hint is it ? What hints in 
 the last two sentences of that paragraph ? What kind ? 
 
 What hints in, " Then there was a pile of presents on the chair 
 under the stocking " ? What kind of hints are they ? What hints 
 in the next sentence ? 
 
 What hint in, "He showed Kitty everything' 1 ? What kind is it? 
 In the next sentence, what hint ? What kind ? The next two 
 sentences hint what ? These hints tell you what ? 
 
 " Later in the day Tom was playing with his blocks." What 
 hint ? What hints in the remainder of that paragraph ? What 
 kind of hints are they ? 
 
 " Tom clapped his hands and shouted." What hint about Tom 
 now ? What does that kind of a hint tell ? What hint in the 
 last sentence ? What kind ? 
 
 Tell what kind of a boy you think Tom was. What things did 
 he do or say that make you think so ? 
 
 ONLY A CENT 
 
 Uncle Harris was a carpenter and had a shop in the 
 country. One day he went into the barn where Dick 
 and Joe were playing with two tame pigeons. 
 
SELECTIONS AND STUDIES 91 
 
 " Boys/' he said, " my workshop ought to be swept 
 up every evening. Which of you wants to do it ? I 
 will pay a cent for each sweeping." 
 
 " Only a penny ! " said Dick. 
 
 " I'll do it," said Joe. 
 
 So every day Joe swept the shop. He put his pennies 
 in a little tin savings bank. 
 
 One day Uncle Harris took Dick and Joe to town 
 with him. While he went to buy his lumber, the boys 
 stayed at a toy store and looked at the toys. 
 
 " What fine kites ! " said Dick. " I wish I could buy 
 one." 
 
 " Only ten cents," said the storekeeper. 
 
 " I haven't even a cent," said Dick. 
 
 " I have fifty cents," said Joe, " and I think I'll buy 
 that bird kite." 
 
 " How did you get fifty cents ? " asked Dick. 
 
 " By sweeping the shop," said Joe. " I saved my 
 pennies, and this morning I opened my bank, and I had 
 fifty pennies in it." 
 
 Joe bought the bird kite and also a fine large knife, 
 while Dick went home without anything. 
 
 After that, Dick swept the shop whenever Joe would 
 let him, and was glad to get the penny to put in his 
 bank. Adapted from Our Little Ones. 
 
 STUDIES 
 
 What hint in Dick's saying, " Only a penny " ? What kind of 
 hint is it ? What hint concerning Joe in, " Fll do it " ? What 
 kind ? What kind of hint in the next sentence ? What is the hint ? 
 
 In the next paragraph, what hints about Uncle Harris ? What 
 kind is each ? What hint in, " I wish I could buy one " ? What 
 
92 LESSONS IN ENGLISH 
 
 kind of hint is it? What hint do you get about the storekeeper? 
 What hint in Dick's answer ? What kind is it ? What hint about 
 Joe in the next ? What hint in Dick's question, " How did you get 
 fifty cents ? " What kind ? What in Joe's answer ? What does it 
 tell of Joe ? Then what kind of hint is it ? Any hints in the next 
 sentence ? What are they ? 
 
 In the last sentence what hint about Dick ? About Joe ? What 
 kind is each ? Which boy will have the most money as he goes 
 through life ? Why ? 
 
 A GOOD LESSON 
 
 The air was fresh and cool. The smell of flowers 
 was everywhere. The golden sunshine was falling on 
 the leaves and grass, and here and there you could see 
 tiny drops of dew. The birds were singing in the trees, 
 and the bees were humming all around. Three little 
 children came out of a small yard, and into the village 
 street. Their feet were bare, and their clothes were 
 patched. But their faces were clean and bright, their 
 hair was well combed, and they stepped lightly and 
 talked pleasantly. 
 
 Each one had a shining tin pail, and one had a mug 
 beside. They were carrying milk to sell. Jim was ? tak- 
 ing two quarts to Mr. Lane whose cow did not give 
 enough for his family and for the boarders too. Emma 
 had a quart for Mrs. Dunn's baby. Hetty had a pint 
 for well, you may think it out. It was for something 
 with a long, slender body; sharp, cutting teeth ; five toes 
 on the fore foot and four on the hind foot ; pads under 
 each toe, and another one back of these ; sharp claws 
 that are drawn back almost out of- sight when they are 
 not in use ; it hunts for mice and small birds, and 
 
SELECTIONS AND STUDIES 93 
 
 catches them by creeping up near them, and then 
 springing upon them. His name was Prince, and the 
 lady who owned him was rich. She was boarding in the 
 village for the summer, and as she thought a great deal 
 of Prince, she bought a pint of milk every morning for 
 him, and it was new milk, too. This morning she came 
 out to get the milk herself. When she saw that Hetty 
 had a mug of milk besides she asked her where she was 
 going to take that. 
 
 " This is for Mrs. Bent's baby, who is not very well," 
 said Hetty. " You see, mamma gives us each a cup of 
 milk every morning, a big cup of new milk, and because 
 Mrs. Bent has nothing but corn bread and potatoes to 
 give to her baby, we each pour some milk out of our 
 mug into this, and that makes him a nice drink every 
 morning and evening." 
 
 " That is a noble thing to do," said the lady, and she 
 took the milk for Prince and went slowly to the house. 
 She said to herself, "That trip would cost me thirty 
 dollars. These children are doing such unselfish 
 things." The lady did not go away on a trip, but the 
 next day she told Hetty that she might find out how 
 many little children there were in the place who needed 
 milk, but whose parents were too poor to buy it. The 
 lady took the list which Hetty brought to her the next 
 day, and told Hetty to come up that afternoon to see 
 her. When Hetty came that afternoon the lady told 
 her that she would pay her and her brother and little 
 sister three dollars a month to feed and take care of a 
 cow for her, and give the milk to the poor babies that 
 needed it. Then she told Hetty to go home and tell her 
 brother to come for the cow. 
 
94 LESSONS IN ENGLISH 
 
 Hetty ran as fast as she could go, and all three chil- 
 dren came back for the cow. Then the lady took them 
 out to the barn, and there stood a beautiful cream-col- 
 ored cow with crumpled horns, which she told Jim was 
 the one she wanted him to take care of for her. And 
 the cow was well cared for, I can tell you, and not a 
 drop of milk was wasted. 
 
 The lady went away early in the fall, but the three 
 dollars came every month. 
 
 On Christmas morning when Jim went out to feed 
 the cows, it was bitter cold. He had not had much for 
 Christmas, but he was very cheerful. When he came to 
 the lady's cow he found this note on her halter : " This 
 cow is now given as a Christmas present to three little 
 children who are so ready to help those who are in 
 need." 
 
 The next summer the poor children of the place had 
 milk again. 
 
 STUDIES 
 
 What things hints tell. 
 
 1 . The kind of person. 
 
 2. How a person feels. 
 
 3. A happening. 
 
 (a) What happened. 
 
 (b) Where it happened. 
 
 (c) When it happened. 
 
 4. The state or condition of a person or thing. 
 
 " The air was fresh and cool. The smell of flowers was every- 
 where." What hint? What does that hint tell? In the next sen- 
 tence what kind of a hint? When does it tell you it was? What 
 hint in the fourth sentence? What does it tell about the birds and 
 bees? 
 
SELECTIONS AND STUDIES 95 
 
 What kind of hint in the sixth sentence? What does it tell of 
 the children's condition? What hints in the next? What kind? 
 " Each one had a shining tin pail." What one word in that sentence 
 gives you a hint? What is the hint? What kind? 
 
 For what was the pint? How do you know? What hints tell 
 you so ? What hints in the next two sentences about the lady who 
 owned Prince? 
 
 In the next paragraph what hints about the children? About the 
 mother? About Mrs. Bent? What kind is each? 
 
 What hint in, " She took the milk and went slowly to the house "? 
 What kind of a hint is it? What hint in the next two sentences? 
 Tell the kind. In the next what is the hint? What does that kind 
 of a hint tell? What hints in the next two sentences? What do 
 they tell of the lady? What hint in the last sentence of that para- 
 graph? What kind? 
 
 What hint in, " Hetty ran as fast as she could go " ? Why did she 
 run so fast? WhaU does it tell of Hetty? What hint in, "All 
 three children came back for the cow"? What hint in, "And she 
 was well cared for, I can tell you, and not a drop of milk was 
 wasted"? What kind is it? It tells you what of the children? 
 What hint in the next sentence? What kind is it? 
 
 What hint about Jim in the next sentence? What does that kind 
 of a hint tell? What hint in the next to the last sentence? What 
 kind is it? 
 
 What hint in the last sentence? What kind? Be careful to get 
 all the hint. 
 
II 
 
 SELECTIONS AND STUDIES IN EMOTIONAL 
 WORDS AND PHRASES 
 
 (SEE CHAPTER II) 
 
 SPRING 
 
 IN a green meadow 
 The brook ripples clear; 
 
 Soft in the sunshine 
 The daisies appear. 
 
 See how the dandelions 
 
 Brightly unfold; 
 They hide in the shining grass, 
 
 Yellow as gold. 
 
 Blow, gentle breeze 
 
 On the hill and the plain; 
 
 Play in the sunshine 
 And blow off the rain. 
 
 From SPEAR'S Leaves and Flowers. 
 
 [Published by D. C. Heath & Co.] 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 green meadow brook brook ripples clear 
 
 daisies dandelions hide in the grass 
 
 gentle breeze blow off the rain 
 
 96 
 
SELECTIONS AND STUDIES 97 
 
 STOP, STOP, PRETTY WATER 
 
 " Stop, stop, pretty water ! " 
 
 Said Mary one day 
 To a frolicsome brook 
 
 That was running away. 
 
 " You run on so fast ! 
 
 I wish you would stay: 
 My boat and my flowers 
 
 You will carry away. 
 
 "But I will run after; 
 
 Mother says that I may; 
 For I would know where 
 
 You are running away." 
 
 So Mary ran on; 
 
 But I have heard say, 
 That she never could find 
 Where the brook ran away. 
 
 MRS. FOLLEN. 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 pretty water frolicsome brook my boat and flowers 
 
 boat running away 
 
 LULLABY 
 
 Sweet and low, sweet and low, 
 
 Wind of the western sea, 
 Low, low, breathe and blow, 
 
 Wind of the western sea ! 
 
98 LESSONS IN ENGLISH 
 
 Over the rolling waters go, 
 
 Come from the dying moon, and blow, 
 
 Blow him again to me; 
 While my little one, while my pretty one, sleeps. 
 
 Sleep and rest, sleep and rest, 
 
 Father will come to thee soon; 
 Rest, rest, on mother's breast, 
 
 Father will come to thee soon; 
 Father will come to his babe in the nest, 
 Silver sails all out of the west 
 
 Under the silver moon : 
 
 Sleep, my little one, sleep, my pretty one, sleep. 
 
 ALFRED TENNYSON. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 sweet and low sleep and rest rolling waters babe in the nest 
 western sea silver sails dying moon silver moon 
 
 THE PUSSY WILLOW 
 
 Dainty pussy willows 
 
 On a swaying bough, 
 Sang awhile to springtime, 
 
 Soft and low. 
 What we heard them telling 
 
 In the plashing rain 
 
 We will tell to you again. 
 
 " Yes, we are pussies, 
 
 Though we nevfer purr; 
 See, we are dressed 
 
 In softest fur. 
 
SELECTIONS AND STUDIES 99 
 
 Children reach to gather us 
 With loving care 
 As we gently sway in air. 
 
 " Come the gentle bluebirds 
 
 When the warm winds blow, 
 Do we ever catch them? 
 
 Oh no! no! 
 We are no such pussies 
 
 Sad would be the spring 
 
 Did the dear birds never sing. 
 
 " By and by the rain came 
 
 Knocking at the door; 
 Sunbeams coaxed us 
 
 Sleep no more. 
 Out we sprang delighted; 
 
 Now we gaily sing, 
 
 Through the merry hours of spring." 
 
 [By permission of The Educational Publishing Company, Boston.] 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 dainty gently sway plashing rain 
 
 swaying bough warm winds blow loving care 
 
 sang soft and low pussy willows bluebirds 
 
 softest fur springtime gaily sing 
 
 merry hours of spring 
 
 THE VIOLET 
 
 Dear little violet, 
 
 Don't be afraid ; 
 Lift your blue eyes 
 
 From the rock's mossy shade. 
 
ioo LESSONS IN ENGLISH 
 
 All the birds call for you 
 
 Out of the sky ; 
 May is here waiting, 
 
 And here, too, am I. 
 
 Why do you shiver so, 
 
 Violet, sweet? 
 Soft in the meadow grass 
 
 Under my feet, 
 Wrapped in your hood of green, 
 
 Violet, why 
 Peep from your earthy door 
 
 Silent and shy ? 
 
 LUCY LARCOM. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 violet out of the sky meadow grass 
 
 blue eyes shiver wrapped 
 
 rock's mossy shade peep hood of green 
 earthy door 
 
 TWINKLE, LITTLE STAR 
 
 Twinkle, twinkle, little star, 
 How I wonder what you are, 
 Up above the world so high, 
 Like a diamond in the sky ! 
 
 When the glorious sun is set, 
 And the grass with dew is wet, 
 Then you show your little light, 
 Twinkle, twinkle, all the night. 
 
 In the dark blue sky you keep, 
 
 And often through my curtains peep ; 
 
SELECTIONS AND STUDIES 101 
 
 For you never shut your eye, 
 
 Till the sun is in the sky. 
 
 JANE TAYLOR. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 twinkle dark blue sky in the sky 
 
 diamond dew little light 
 
 glorious sun little star 
 
 THE SEED 
 
 The wind whistled bleak in the treetops ; 
 
 The woodland was drear and bare ; 
 A little s'eed fell on the frozen ground. 
 
 " I must die ! " it cried in despair. 
 
 Then down from a cloud there sifted, 
 Like the flutter of wings, a swarm 
 
 Of tender, glistening flakes of snow 
 That covered it snug and warm. 
 
 The bleak, stormy day is forgotten ; 
 
 The long winter through it lies 
 Till some day in spring it opens 
 
 Its eyes to the bluest of skies. 
 
 RUTH DAVIS. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 wind whistled bleak in the treetops 
 
 drear woodland frozen ground 
 
 down from a cloud flutter of wings 
 
 glistening flakes of snow bleak, stormy day 
 
 day in spring bluest of skies 
 
102 LESSONS IN ENGLISH 
 
 ... LITTLE STREAMS 
 
 Little streams, in light and shadow 
 Flowing through the pasture meadow; 
 Flowing by the green wayside : 
 Through the forest dim and wide ; 
 Through the hamlet still and small ; 
 By the cottage ; by the hall ; 
 By the ruined abbey still ; 
 Turning, here and there, a mill ; 
 Bearing tribute to the river ; 
 Little streams, I love you ever ! 
 Down in valleys green and lowly, 
 Murmuring not and gliding slowly ; 
 Up in mountain hollows wild, 
 Fretting like a peevish child ; 
 Through the hamlet, where all day 
 In their waves the children play, 
 Running west, or running east, 
 Doing good to man and beast, 
 Always giving, weary never, 
 Little streams, I love you ever ! 
 
 MARY HOWITT. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 little streams light and shadow 
 
 pasture meadow green wayside 
 
 cottage dim forest 
 
 ruined abbey valleys green and lowly 
 
 murmuring gliding slowly 
 
 wild mountain hollows 
 
SELECTIONS AND STUDIES 103 
 
 THE LAST NIGHT OF JOAN OF ARC 
 
 The silver moon sails on, sails on, 
 
 The night is waxing old, 
 And still, above the shadowy pines, 
 
 The stars shine clear and cold. 
 
 The restless waves come rocking home 
 
 And beat upon the strand ; 
 The cocks proclaim the passing hour 
 
 Throughout the sleeping land. 
 
 The waning stars are paling fast 
 
 Below the sinking moon ; 
 Low in the east the darkness lifts 
 
 The end is coming soon. 
 
 The morning sun is blazing gold 
 
 It beats across my cell. 
 The night has sped, my hour has come 
 
 Ah, world of God, farewell ! 
 
 DOROTHY GREEN. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 silver moon shadowy pines 
 
 restless waves . sleeping land 
 
 waning stars sinking moon 
 
 darkness lifts morning sun 
 
 What do you think of as sleeping ? Why say the land was 
 sleeping ? 
 
 What does the last stanza tell you about Joan of Arc ? 
 
io 4 LESSONS IN ENGLISH 
 
 WINTER WIND 
 
 What way does the wind come ? What way does he go ? 
 
 He rides over the water and over the snow, 
 
 Through wood, and through vale ; and o'er rocky height 
 
 Which the goat cannot climb takes his sounding flight ; 
 
 He tosses about in every bare tree, 
 
 As, if you look up, you plainly may see ; 
 
 But how he will corne and whither he goes 
 
 There's never a scholar in England knows. 
 
 He will suddenly stop in a cunning noo.k 
 
 And ring a sharp 'larum ! but if you should look, 
 
 There's nothing to see but a cushion of snow 
 
 Round as a pillow and- whiter than milk, 
 
 And softer than if it were covered with silk. 
 
 Sometimes he'll hide in the cave of a rock, 
 
 Then whistle as shrill as a buzzard cock ; 
 
 Yet seek him, and what shall you find in the place ? 
 
 Nothing but silence and empty space ; 
 
 Save, in a corner a heap of dry leaves, 
 
 That he's left, for a bed, to beggars or thieves ! 
 
 WORDSWORTH. 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 over the water over the snow 
 
 o'er rocky height flight 
 
 through vale every bare tree 
 
 cunning nook cushion of snow 
 
 whiter than milk softer than silk 
 
 whistle shrill cave of rock 
 
 heap of dry leaves silence 
 
SELECTIONS AND STUDIES 105 
 
 GOOD MORNING 
 
 Good morning to the sunshine fair, 
 
 That lights this world of ours, 
 Good morning to the singing birds, 
 
 Good morning to the flowers ! 
 
 Good morning to the friendly clouds 
 
 That bring refreshing rain, 
 Which patters out, " Good morning, dears ! " 
 
 Upon the window pane. 
 
 Good morning to the lovely snow, 
 
 That lies so soft and deep 
 Above the little tender seeds 
 
 In mother earth asleep. 
 CARO A. DUGAN, from Songs and Games for Little Ones. 
 
 [By permission of Oliver Ditson Company, owners of the copyright.] 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 sunshine fair soft and deep friendly clouds 
 
 refreshing rain singing birds lovely snow 
 
 little tender seeds 
 
 THE GREEN LINNET 
 
 Beneath these fruit-tree boughs that shed 
 Their snow-white blossoms on thy head, 
 With brightest sunshine round me spread 
 
 Of spring's unclouded weather, 
 In this sequestered nook how sweet 
 To sit upon my orchard seat ! 
 
io6 LESSONS IN ENGLISH 
 
 And birds and flowers once more to greet, 
 My last year's friends together. 
 
 Upon yon tuft of hazel trees, 
 That twinkle to the gusty breeze, 
 Behold him perched in ecstasies, 
 
 Yet seeming still to hover ; 
 There ! where the flutter of his wings 
 Upon his back and body flings 
 Shadows and sunny glimmerings, 
 
 That cover him all over. 
 
 My sight he dazzles, half deceives, 
 A bird so like the dancing leaves ; 
 Then flits, and from the cottage eaves 
 
 Pours forth his song in gushes ; 
 As if by that exulting strain 
 He mocked and treated with disdain 
 The voiceless form he chose to feign, 
 
 While fluttering in the bushes. 
 
 WORDSWORTH. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 fruit-tree boughs snow-white blossoms 
 
 brightest sunshine spring's unclouded weather 
 
 sequestered nook orchard seat 
 
 tuft of hazel trees twinkle 
 
 gusty breeze flutter of wings 
 
 sunny glimmerings dancing leaves 
 
 cottage eaves fluttering in the bushes 
 
SELECTIONS AND STUDIES 107 
 
 THE FERNS 
 
 The following studies and children's answers are an 
 exact reproduction of a class exercise from the poem 
 The Ferns, to be found in Harper's Second Reader. 
 
 STUDIES 
 
 Lines i and 2. (a) Who do you think said it? (b) What hint 
 in the way it is said ? (c) " Long winter " makes you think of what? 
 
 Line 3. (a) What are baby ferns like? (b) Where do they grow? 
 
 Line 4. (a) What made the mother fern die? () Was the 
 mother fern needed to make the baby ferns grow the next year? 
 Why? 
 
 Line 5. (a) Do you know what "bleak 11 means? () "Winds 
 whistled bleak" makes you think of what? 
 
 Line 6. (a) What is a woodland? (b) "Woodland was drear" 
 makes you think of what ? 
 
 Lines 7 and 8. (a) What does that mean? (b) Any hint? 
 
 Line 9. Makes you think of what? 
 
 Line 10. What do you think of when you hear me say, "flutter 
 of wings 11 ? 
 
 Lines n and 12. (#) What does "tiny white things" make you 
 think of ? (b) What does it mean ? 
 
 Lines 13-16. (a) What two things did the snowflakes do for the 
 ferns ? (b) What does " bleak stormy day " make you think of ? 
 
 Line 17. What does "under the snow" make you think of? 
 
 Line 18. Means what? 
 
 Line 19. Why will they not know anything? 
 
 Line 20. (a) Means whom ? (b) " In the woods " makes you 
 think of what? 
 
 Line 21. (a) What does "day in spring" make you think of? 
 (b) What is going to happen ? 
 
 Line 22. What are bobolinks ? 
 
 Line 23. Why? 
 
 Line 24. What do you think of when you hear " bluest of 
 skies"? 
 
io8 LESSONS IN ENGLISH 
 
 CHILDREN'S ANSWERS 
 
 i. and 2. (a) " Children," " flowers," "squirrels," "rabbits," 
 " leaves," " ferns." (b) " They felt awful sorry." " They felt sad." 
 " They didn't know what to do." " They were afraid they'd be 
 frozen." (c) "Long winter" makes me think of the long cold 
 days when it was so cold I could not go out of doors." 
 
 3. (a) "Baby ferns are the leaves rolled up tight in a little 
 ball." (b) " They grow close to the ground." 
 
 4. (a) " She died because she was so cold." " She froze." 
 (<) "No'm, they'd come up from the roots." "The roots don't 
 freeze and the baby ferns come up from them next year." 
 
 5. (a) "Bleak means cold, windy." (b) "Once I was coming 
 from Sunday school. Everything was white with snow, and the 
 sky was dark and gray. The wind was cold and blew very hard." 
 
 6. (a) "A place where lots of trees grow." "The woods." 
 "The timber." (b) "I went to the woods one day in fall. There 
 were leaves on the ground and none on the trees. Everything 
 looked dark and lonely, for it was nearly night. It was so still 
 that I felt lonesome and a little afraid." 
 
 7 and 8. (#) " The baby ferns felt so sorry that they were 
 crying." "They were awful sad and lonesome." (b) "I think the 
 tear was a drop of dew." " I think it was a drop of water." 
 
 9. " Once I saw, after a rain, when I looked out of the window, 
 little paths of light coming down from the clouds." " Once I was in 
 the house and it was storming. The wind was blowing, trees were 
 bending nearly to the ground. I looked from the door, and saw 
 rain and bright streaks of lightning coming down from the clouds." 
 
 10. "Sterling and I went hunting. We saw some geese flying 
 in the air. Their wings fluttered as they went by." "John Watson 
 had a pelican and it flew up in the air. When it started to fly, its 
 wings fluttered." 
 
 ii and 12. (a) "One time I saw lots of little white things flying 
 in the air. They were little milkweed seeds." () " The tiny white 
 things were snowflakes." 
 
 13-16. (a) "The snowflakes kept the ferns alive and warm." 
 "They covered the little ferns' heads so they wouldn't freeze." 
 
SELECTIONS AND STUDIES 109 
 
 () "I came to school one stormy day when the snow was so 
 deep I could hardly walk. The wind blew and blew the snow 
 in my face so I could hardly see." 
 
 17. "I think of grass sleeping until the snow melts, and the sun 
 shines warm." "I think of flowers that are under the snow keeping 
 warm until the spring comes." 
 
 18. "The little brown hoods" are little brown hairs that grow 
 on the baby ferns to help keep them warm." 
 
 19. "They have gone to sleep." 
 
 20. (a) "The baby ferns are the ' babes in the woods. 1 " 
 (b) " One time all of us went to the woods to get leaves, moss, and 
 puff balls. We ate our lunch under the trees, and had fun." 
 
 21. (a) "It was a little chilly, but the sun was shining bright. 
 I was looking from the window and saw the buds on the trees, 
 grass growing green, and the birds were singing." (b) " The baby 
 ferns are going to wake up and grow." 
 
 22. " Bobolinks are birds." 
 
 23. "They are going to wake up because the sun has uncovered 
 their heads, and they think it is time to get up." "They are going 
 to open their eyes and begin to grow." " They are going to grow 
 and be mother ferns." 
 
 24. " In summer I was playing horse and got tired and lay down 
 on the cool green grass to rest. I looked up and saw the sky was 
 all blue." 
 
 AUTUMN LEAVES 
 
 " Come little leaves/' said the wind one day, 
 " Come o'er the meadow with me and play ; 
 Put on your dresses of red and of gold, 
 Winter is coming and the days grow cold." 
 
 Soon as the leaves heard the loud wind call, 
 Down they came fluttering one and all ; 
 O'er the green meadow they danced and they flew, 
 Singing the soft little songs they knew. 
 
no LESSONS IN ENGLISH 
 
 Dancing and whirling the little leaves went, 
 Winter had called them and they were content. 
 Soon fast asleep in their earthy beds 
 The snow laid a coverlet over their heads. 
 
 GEORGE COOPER. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 little leaves o ? er the meadow green meadow 
 
 the loud wind fluttering earthy bed 
 
 soft little songs the days grow cold 
 
 What do you think of as wearing dresses? Do leaves wear 
 dresses? Why say they do? What do you think of when I say 
 "heard"? "danced"? "singing"? What heard? What danced? 
 What was singing ? Why speak so of the leaves ? What sing songs ? 
 Why say the leaves sang songs? What things sleep? Why say 
 they were asleep? Was it a coverlet? Why say coverlet? Do the 
 leaves have heads ? Why say " over their heads " ? 
 
 THE EVENING CLOUD 
 
 A cloud lay cradled near the setting sun, 
 A gleam of crimson tinged its braided snow ; 
 Long had I watch'd the glory moving on 
 O'er the still radiance of the lake below. 
 Tranquil its spirit seemed and floated slow ! 
 Even in its very motion there was rest : 
 While every breath of eve that chanced to blow 
 Wafted the traveler to the beauteous West. 
 
 JOHN WILSON. 
 
SELECTIONS AND STUDIES in 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 cradled setting sun 
 
 tinged gleam of crimson 
 
 radiance tinged its snow 
 
 glory still radiance of the lake 
 
 breath of eve tranquil spirit 
 
 wafted floated slow 
 beauteous West 
 
 Was the cloud in a cradle? Why say it was? What do you 
 think of as being wafted ? Why say the " traveler was wafted " ? 
 
 THE FROST 
 
 The frost looked forth one still, clear night, 
 And whispered, " Now I shall be out of sight ! 
 So, through the valley and over the height 
 
 In silence I'll take my way. 
 I will not go on like that blustering train, 
 The wind and the snow and the hail and the rain, 
 That make such a bustle and noise in vain, 
 But I'll be as busy as they." 
 
 So he flew to the mountain, and powdered its crest, 
 He lit on the trees, and their boughs he dressed 
 With diamonds and pearls ; and over the breast 
 
 Of the quivering lake he spread 
 A coat of mail that need not fear 
 The downward point of many a spear 
 Which he hung on its margin far and near 
 
 Where a rock could rear its head. 
 
ii2 LESSONS IN ENGLISH 
 
 He went to the windows of those who slept, 
 And over each pane like a fairy crept ; 
 Wherever he breathed, wherever he stepped, 
 
 By the light of the moon were seen 
 Most beautiful things ; there were flowers and trees, 
 There were bevies of birds and swarms of bees ; 
 There were cities and temples and towers and these 
 
 All pictured in silvery sheen. 
 
 But he did one thing that was hardly fair 
 He peeped in the cupboard, and finding there 
 That all had forgotten for him to prepare, 
 
 " Now, just to set them a thinking," said he, 
 "This costly pitcher I'll burst in three ! 
 And the glass of water they've left for me, 
 
 Shall 'tchick' to tell them I'm drinking." 
 
 HANNAH F. GOULD. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 still clear night through the valley 
 
 blustering train flew to the mountain 
 
 powdered its crest quivering lake 
 
 like a fairy crept light of the moon 
 
 bevies of birds swarms of bees 
 
 temples and towers silvery sheen 
 
 What does "whispered" make you think of? Why say Jack 
 Frost whispered? Why "looked"? Why say "he flew"? Did 
 he put "dresses" on the boughs? What did he do? What is 
 meant by " coat of mail " ? What did he give to the lake ? What to 
 the windows? What does "peeped" call to your mind? Why 
 speak of the frost as peeping? Was he " drinking " ? Why say so ? 
 
SELECTIONS AND STUDIES 113 
 
 MOTHER'S GOOD NIGHT 
 
 Good night, sweetheart ! The passing day 
 
 Has crossed the sunset bar, 
 And clear above the paling west 
 
 Shines forth the evening star. 
 The myriad cares that vexed the day 
 
 Fade with the fading light ; 
 I only know I love you, dear 
 
 Good night, my babe ! Good night ! 
 
 
 Good night, sweetheart ! My strength is small 
 
 And I am far away. 
 A stronger love than mine keeps guard, 
 
 And to that Love I pray. 
 For far above the restless world 
 
 The stars of God are bright. 
 God keep you till the perfect dawn 
 
 Good night, my babe ! Good night ! 
 
 DOROTHY GREEN. 
 STUDIES 
 
 EMOTIONAL WORDS AND PHRASES 
 
 sunset bar paling west 
 
 evening star fading light 
 
 restless world perfect dawn 
 
 bright stars of God 
 What does " Good night, my babe " call to your mind ? 
 
 ARBUTUS 
 
 Light fall the April rains, soon comes the sunshine, 
 Chasing the soft clouds far over the blue. 
 
 Hark ! Can you hear the East, calling to Westward ? 
 " Come back, my children, I'm waiting for you. 
 
u 4 LESSONS IN ENGLISH 
 
 " Come away, come away, leaving the prairie 
 Leaving the treeless plain, dusty and bare. 
 
 Come to the woods in the first flush of April, 
 For the arbutus is blossoming there." 
 
 Soon all the earth will be fragrant with springtime ; 
 
 Bloodroot, anemones, violets too, 
 Columbines, cowslips, and down in the meadow, 
 
 Clear as the sky, the forget-me-nots blue. 
 
 Now in the far woods they're quietly sleeping, 
 Waiting the warm winds who wake them from rest ; 
 
 Yet the Forerunner has met us already 
 
 Dainty wee Mayflower, the first and the best. 
 
 Under the dead leaves that fell last November, 
 Timid, yet ready, the March wind to dare, 
 
 Pink, freshly fragrant, awaiting its lovers 
 Lo ! the arbutus is blossoming there. 
 
 DOROTHY GREEN. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 April rains soft clouds 
 
 prairie treeless plain, dusty and bare 
 
 bloodroot first flush of April 
 
 anemones fragrant with springtime 
 
 columbines down in the meadow 
 
 cowslips forget-me-nots blue 
 under dead leaves quietly sleeping 
 
 March wind dainty wee Mayflower 
 
 What does the word "chasing" make you think of? Why 
 say the sunshine is chasing the clouds ? What do you think of as 
 calling? Can the East call the West? Why speak of it thus? 
 What do you think of as sleeping? Why say the flowers are sleep- 
 ing? Why say the winds wake them? 
 
SELECTIONS AND STUDIES 115 
 
 SUMMER 
 
 They may boast of the springtime when flowers are the 
 fairest, 
 
 And birds sing by thousands on every green tree ; 
 They may call it the loveliest, the greenest, the rarest ; 
 
 But the summer's the season that's dearest to me. 
 
 For the brightness of sunshine ; the depth of the 
 shadows ; 
 
 The crystal of waters ; the fullness of green, 
 And the rich flowing growth of the old pasture meadows, 
 
 In the glory of summer can only be seen. 
 
 Oh, the joy of the greenwood ! I love to be in it, 
 And list to the hum of the never-still bees, 
 
 And to hear the sweet voice of the old mother linnet, 
 Calling unto her young 'mong the leaves of the trees ! 
 
 Yes, the summer, the radiant summer's the fairest, 
 For green-woods and mountains, for meadows and 
 bowers, 
 
 For waters and fruits, and for flowers the rarest, 
 And for bright shining butterflies, lovely as flowers. 
 
 MARY HOWITT. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 springtime fairest flowers 
 
 brightness of sunshine depth of shadows 
 
 crystal of waters fullness of green 
 
 rich flowery growth old pasture meadows 
 
 glory of summer joy of the green-wood 
 
 old mother linnet 'mong the leaves of the trees 
 
 radiant summer bright shining butterflies 
 
n6 LESSONS IN ENGLISH 
 
 SPRING 
 
 Bright Creature, lift thy voice and sing 
 Like the glad birds, for this is spring ! 
 Look up the skies above are bright, 
 And darkly blue as deep midnight; 
 And piled-up, silvery clouds lie there, 
 Like radiant slumberers of the air: 
 And hark! from every bush and tree 
 Rings forth the wild-wood melody. 
 The blackbird and the thrush sing out; 
 And small birds warble round about, 
 As if they were bereft of reason, 
 In the great gladness of the season; 
 
 For life, in the glad days of spring, 
 Doth gladden each created thing. 
 
 MARY HOWITT. 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 bright creature glad birds 
 
 deep midnight skies, bright and darkly'blue 
 
 radiant piled-up, silvery clouds 
 
 wild-wood melody glad days of spring 
 
 What word do you use for " thy " ? For " doth " ? 
 
 THE DAISY 
 
 There is a flower, a little flower, 
 With silver crest and golden eye, 
 
 That welcomes every changing hour, 
 And weathers every sky. 
 
SELECTIONS AND STUDIES 117 
 
 It smiles upon the lap of May, 
 To sultry August spreads its charm, 
 
 Lights pale October on his way, 
 And twines December's arm. 
 
 'Tis Flora's page, in every place, 
 In every season, fresh and fair; 
 
 It opens its perennial grace, 
 And blossoms everywhere. 
 
 On waste and woodland, rock and plain, 
 Its humble buds unheeded rise; 
 
 The rose has but a summer reign: 
 The Daisy never dies. 
 
 JAMES MONTGOMERY. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 little flower silver crest golden eye 
 
 sultry August pale October blossoms 
 
 woodland summer reign fresh and fair 
 
 Explain the use of " smiles," " spreads," lights," and " twines," 
 as used in the second stanza. 
 
 WE THANK THEE 
 
 For flowers that bloom about our feet; 
 For tender grass, so fresh and sweet; 
 For song of bird and hum of bee; 
 For all things fair we hear or see, 
 Father in heaven, we thank Thee ! 
 
n8 LESSONS IN ENGLISH 
 
 For blue of stream and blue of sky; 
 For pleasant shade of branches high; 
 For fragrant air and cooling breeze ; 
 For beauty of the blooming trees, 
 Father in heaven, we thank Thee ! 
 
 RALPH WALDO EMERSON. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 tender grass blue of stream branches high blooming trees 
 song of bird blue of sky fragrant air heaven 
 
 hum of bee pleasant shade cooling breeze 
 
 What do you think of when you see the word " fresh " ? Fresh 
 what ? In the same way "sweet" ? Sweet what ? Why say fresh 
 grass? Why say sweet grass ? 
 
 Notice the transposed meaning of these words, but do not try to 
 do more than call attention to the unusual use of the words, which 
 will be done well enough by asking the questions as given above. 
 
 SNOWFLAKES 
 
 Tiny little snowflakes, 
 
 In the air so high, 
 Are you little angels, 
 
 Floating in the sky ? 
 Robed so white and spotless, 
 
 Flying like a dove, 
 Are you little creatures 
 
 From the world above ? 
 
 Whirling on the sidewalk, 
 
 Dancing in the street, 
 Kissing all the faces 
 
 Of the children sweet, 
 
SELECTIONS AND STUDIES 119 
 
 Loading all the housetops, 
 
 Powdering all the trees, 
 Cunning little snowflakes, 
 
 Little busy bees ! 
 
 LUCY LARCOM. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 tiny little snowflakes powdering the trees dancing 
 
 floating whirling flying like a dove little busy bees 
 
 What does the word " robed " call to your mind ? Why say the 
 " snowflakes were robed " ? What does " dancing " make you think 
 of ? What does " kissing " make you think of ? Why say these 
 things of the snowflakes ? Were the snowflakes really bees ? Why 
 say they were ? 
 
 SEVEN TIMES ONE 
 
 There's no dew left on the daisies and clover, 
 
 There's no rain left in heaven ; 
 I've said my " seven times " over and over, 
 
 Seven times one are seven. 
 
 I am old, so old I can write a letter ; 
 
 My birthday lessons are done. 
 The lambs play always they know no better 
 
 They are only one times one. 
 
 O Moon ! in the night I have seen you sailing 
 
 And shining so round and low ; 
 You were bright, ah, bright ! but your light is failing, 
 
 You're nothing now but a bow. 
 
120 LESSONS IN ENGLISH 
 
 You, Moon, have you done something wrong in heaven, 
 
 That God has hidden your face ? 
 I hope, if you have, you will soon be forgiven, 
 
 And shine again in your place. 
 
 O velvet bee, you're a dusty fellow ; 
 
 You've powdered your legs with gold ! 
 O brave marshmary buds, rich and yellow, 
 
 Give me your money to hold ! 
 
 O columbine, open your folded wrapper, 
 Where two twin turtle-doves dwell ! 
 
 cuckoo-pint, toll me the purple clapper 
 That hangs in your clear green bell ! 
 
 And show me your nest, with the young ones in it, 
 I will not steal it away ; 
 
 1 am old ! you may trust me, linnet, linnet, 
 
 I am seven times one to-day. 
 
 JEAN INGELOW. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 daisies light is failing brave marshmary buds 
 
 clover velvet bee twin turtle-doves 
 
 lambs dusty fellow purple clapper 
 
 THE VIOLET 
 
 Down in a green and shady bed 
 
 A modest violet grew. 
 Its stalk was bent, it hung its head 
 
 As if to hide from view. 
 
SELECTIONS AND STUDIES 121 
 
 And yet it was a lovely flower, 
 
 Its color bright and fair. 
 It might have graced a rosy bower 
 
 Instead of hiding there. 
 
 Yet thus it was content to bloom, 
 
 In modest tints arrayed, 
 And there diffused its sweet perfume 
 
 Within the silent shade. 
 
 JANE TAYLOR. 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 green and shady bed content hung its head 
 
 modest violet sweet perfume lovely flower 
 
 graced silent shade rosy bower 
 modest tints 
 
 What do you think of when I say " bed " ? Does the violet really 
 have a bed? Why say it does? What do you think of when I say 
 " modest " ? A modest what ? Why say " modest violet " ? Why 
 say "modest tints 11 ? What do you think of as hanging its head ? 
 Why say the violet hung its head? What does " hiding 11 make you 
 think of ? What do you think of as hiding? Does the violet really 
 hide ? Why say it does ? What do you think of when I say " silent " ? 
 Why say " silent shade "? 
 
 MAY 
 
 Starting, starting from the earth, 
 
 See the pretty flowers ! 
 Wakened from their winter's sleep 
 
 By the springtime showers. 
 
122 LESSONS IN ENGLISH 
 
 Now we know that May hath come, 
 
 O'er the meadows dancing; 
 Robin lilts his sweetest song, 
 
 Sunbeams round him glancing. 
 
 Bluebird's knocking at the door, 
 
 Swallow's hither coming 
 And o'er all the sunny mead 
 
 Springtime bees are humming. 
 
 Golden sunshine, silver rain, 
 
 Each its work is doing. 
 Birds and bees and blossoms fair 
 
 Now the world renewing. 
 
 O thou merry month o' May, 
 
 We have come to meet you ! 
 Little lads and lassies gay, 
 
 Happily we greet you. 
 
 HELEN B. CURTIS. 
 
 [By permission of the Educational Publishing Company, Boston.] 
 
 STUDIES 
 EMOTIONAL WORDS AND PHRASES 
 
 pretty flowers springtime showers 
 
 sweetest song o'er meadows dancing 
 
 sunbeams sunny mead 
 
 golden sunshine silver rain 
 
 merry month o' May blossoms fair 
 
 Why "winter's sleep"? Why speak of the flowers as being 
 " wakened " ? Of the " bluebird's knocking " ? 
 
 What word would you use for " hath *' ? For " thou " ? 
 
Ill 
 
 SELECTIONS AND STUDIES IN METAPHOR 
 AND TYPES 
 
 (SEE CHAPTER III) 
 
 METAPHORS 
 
 1. The sunshine poured in at the window. 
 
 2. The violet grows in a shady bed. 
 
 3. It has a modest color. 
 
 4. The grass is fresh to-day. 
 
 5. The clouds are gliding through the sky. 
 
 6. The silver stream dances over the pebbles. 
 
 7. They gather the golden sheaves of wheat. 
 
 8. The day is dying now. 
 
 9. The seeds of the dandelion are floating on the 
 breeze. 
 
 10. The buds are rocked by the winter winds. 
 
 11. See the golden buttercups. 
 
 12. The stars blossom in the night. 
 
 13. It is spring, and the earth has a .carpet of green. 
 
 14. The people swarmed about the parks. 
 
 15. The great arms of the elms reached across the 
 road. 
 
 1 6. The gentle wind kindly blows upon us. 
 
 17. Baby has such laughing eyes. 
 
 1 8. She has such a bright face. 
 
 19. The rose's breath is sweet to-day. 
 
 20. The frightened man roared for help. 
 
 123 
 
i2 4 LESSONS IN ENGLISH 
 
 Such wee clouds of darkness 
 Make everywhere night; 
 
 Such wee glints of sunshine 
 Make everything bright. 
 
 Selected. 
 
 THE WASP AND THE BEE 
 
 A wasp met a bee that was just passing by, 
 And he said, " Little Cousin, can you tell me why 
 You are loved so much better by people than I ? 
 
 " My back shines as bright and as yellow as gold, 
 And my shape is most elegant, too, to behold ; 
 Yet nobody likes me for that, I am told." 
 
 " Ah, Cousin," said the bee, " 'tis all very true ; 
 But if I had half as much mischief to do, 
 Indeed they would love me no better than you. 
 
 " You have a fine shape and a delicate wing ; 
 
 They own you are handsome ; but there is one thing 
 
 They cannot put up with and that is your sting. 
 
 " My coat is quite homely and plain, as you see, 
 Yet nobody is ever angry with me 
 Because I'm a harmless and diligent bee." 
 
 From Natttre Study. 
 
 [Published by William G. Smith, Minneapolis, Minn.] 
 
SELECTIONS AND STUDIES 125 
 
 A FABLE OF CLOUDLAND 
 
 Two clouds in the early morning 
 
 Came sailing up the sky - 
 'Twas summer, and the meadow lands 
 
 Were brown and baked and dry. 
 
 And the higher cloud was large and black, 
 
 And of a scornful mind, 
 And he sailed as though he turned his back 
 
 On the smaller one behind. 
 
 At length in a voice of thunder, 
 
 He said to his mate so small, 
 " If I wasn't a bigger cloud than you, 
 
 I wouldn't be one at all ! " 
 
 And the little cloud that held her place 
 
 So low along the sky, 
 Grew red and purple in the face, 
 
 And then began to cry ! 
 
 And the great cloud thundered out again 
 
 As loud as loud could be, 
 " Lag lowly still, and cry if you will, 
 
 I'm going to go to sea ! 
 
 " The land doesn't give me back a smile, 
 
 I will leave it to the sun, 
 And will show you something worth your while, 
 
 Before the day is done." 
 
iz6 LESSONS IN ENGLISH 
 
 So off he ran without a stop, 
 
 Upon his sea voyage bent, 
 And he never shed a single drop 
 
 On the dry land as he went. 
 
 And directly came a rumble, 
 
 Along the air so dim, 
 And then a crash, and then a dash ; 
 
 And the sea had swallowed him ! 
 
 " I don't make any stir at all," 
 Said the little cloud with a sigh, 
 
 And her tears began like rain to fall 
 On the meadows parched and dry. 
 
 And over the rye and the barley 
 
 They fell and fell all day, 
 And soft and sweet on the fields of wheat, 
 
 Till she wept her heart away. 
 
 And the bean flowers and the buckwheat, 
 
 They scented all the air, 
 And in the time of harvest 
 
 There was bread enough and to spare. 
 
 I know a man like that great cloud, 
 
 As like as like can live, 
 And he gives his alms, like thunder-cloud, 
 
 Where there's no need to give. 
 
 And I know a woman who doth keep 
 Where praise comes not at all, 
 
 Like the modest cloud that could but weep 
 Because she was so small. 
 
SELECTIONS AND STUDIES 127 
 
 The name of the one the poor will bless 
 
 When her day shall cease to be, 
 And the other shall fall as profitless 
 
 As the cloud did in the sea. 
 
 ALICE GARY. 
 
 STUDIES 
 
 Line I . (a) What hint ? (b) What does it make you recall ? 
 
 Line 2. (a) What does " sailing " make you think of ? (b) What 
 does " sailing up the sky " make you think of ? 
 
 Line 3. Make hints for " 'Twas summer." 
 
 Lines 3, 4. What hint ? 
 
 Line 5. Did you ever see such a cloud ? 
 
 Lines 7, 8. If this were a person what kind of a person would 
 it be? 
 
 Line 9. What does " voice of thunder" make you think of ? 
 
 line 10. (a) What is meant by "his mate" ? (b) Tell what 
 you think his mate is like, (c) Where is it ? 
 
 Lines 11, 12. What hint about the big cloud ? 
 
 Lines 13-16. (a) What hints? (b) What does "the little 
 cloud " make you think of ? 
 
 Lines 17, 18. (a) What did the great cloud do ? (b) What 
 usually happens then ? (c) Can you think of a time when it didn't ? 
 (Explain thunder. Tell them a story or myth.) 
 
 Lines 19, 20. (a) Where was the big cloud going ? (b) What 
 for ? (c) Any hint ? (d) What do you want the little cloud to do ? 
 (e) What could the big cloud have done ? 
 
 Lines 21-24. O) Why didn't he ? (b) What hints ? (c) What 
 does " the day is done " mean ? (d) What other way can you tell 
 the same thing ? (e) Can you think of any particular thing that 
 ever happened to you at twilight ? (/) Tell with ..the prettiest 
 words you can think of. 
 
 Lines 25-28. What hints ? 
 
 Lines 29-31. Tell of some time this makes you think of: 
 
 (a) " a rumble 
 Along the air so dim." 
 
 (b) " Then a crash and then a dash." 
 
iz8 LESSONS IN ENGLISH 
 
 Line 32. (a) What is meant ? () How could it ? 
 
 Lines 32-36. (a) What hint ? () Do you think the same of 
 the little cloud now as you did in line 10 ? If not, why ? (V) If 
 the little cloud were a person, what kind of a person would it be ? 
 (d) What are the cloud's tears ? (e) What does " On the meadows " 
 make you think of ? 
 
 Line 38. What is meant by "They"? 
 
 Line 39. Tell of some particular times the following make you 
 think of : 
 
 (a) Soft and sweet." (6) " Fields of wheat." 
 
 Line 40. What hint ? 
 
 Lines 41-44. (a) What are bean flowers "? (b) What is "buck- 
 wheat" ? (c) How does a field of buckwheat look ? (d) What 
 does " scented all the air " mean ? (e) Tell of some time it makes 
 you think of. (/") What does " in the time of the harvest " mean ? 
 (g) Tell of some time it makes you think of. (h) What hints in 
 these lines ? (i) Which cloud do you like best ? Why ? (/ ) What 
 lesson for us ? 
 
 Suggestions. Omit the last three stanzas. Prepare for the poem 
 by talks on clouds. Take only so much of the lines at a time as a 
 question calls for. 
 
IV 
 
 SELECTIONS AND STUDIES IN THE 
 THEME 
 
 (SEE CHAPTER IV) 
 
 A LESSON 
 
 Though young birds in flying fall, 
 Still their wings grow stronger, 
 
 And the next time they can keep 
 Up a little longer. 
 
 Though the sturdy oak has known 
 
 Many a blast that bowed her, 
 She has risen again and grown 
 
 Loftier and prouder. 
 
 PHCEBE GARY. 
 
 LITTLE DROPS OF WATER 
 
 Little drops of water, 
 
 Little grains of sand, 
 Make the mighty ocean 
 
 And the pleasant land. 
 
 And the little minutes, 
 
 Humble though they be, 
 Make the mighty ages 
 
 Of eternity. 
 
 Selected. 
 K 129 
 
i 3 o LESSONS IN ENGLISH 
 
 THE FOUR SUNBEAMS 
 
 Four little sunbeams came earthward one day, 
 Shining and dancing along on their way. 
 
 One sunbeam ran in at a low cottage door, 
 
 And played "hide and seek" with a child on the floor, 
 
 Till baby laughed loud in his glee, 
 And chased with delight his playmate so bright, 
 The little hands grasping in vain for the light 
 
 That ever before them would flee. 
 
 One crept to the couch where an invalid lay, 
 
 And brought him a dream of the sweet summer day, 
 
 Its bird-song and beauty and bloom ; 
 Till pain was forgotten and weary unrest, 
 And in fancy he roamed through the scenes he loved 
 best, 
 
 Far away from the dim, darkened room. 
 
 One stole to the heart of a flower that was sad, 
 And loved and caressed her until she was glad, 
 And lifted her white face again. 
 
 And one, where a little blind girl sat alone 
 Not sharing the mirth of her playfellows, shone 
 
 On hands that were folded and pale, 
 And kissed the poor eyes that had never known sight, 
 That never would gaze on the beautiful light 
 
 Till angels had lifted the veil. 
 
SELECTIONS AND STUDIES 131 
 
 At last, when the shadows of evening were falling, 
 And the sun, their great father, his children were calling, 
 Four sunbeams sped into the west ; 
 
 Then softly they sank to their rest. 
 
 M. K. B. 
 
 THE BEE, CLOVER, AND THISTLE 
 
 A bee from the hive one morning flew, 
 
 A tune to the daylight humming ; 
 And away she went o'er the sparkling dew, 
 Where the grass was green, the violet blue, 
 
 And the gold of the sun was coming. 
 
 And what first tempted the roving bee, 
 
 Was a head of the crimson clover. 
 " I've found a treasure betimes ! " said she ; 
 " And perhaps a greater I might not see, 
 
 If I traveled the field all over." 
 
 The flow'rets were thick which the clover crowned, 
 
 As the plumes in the helm of Hector ; 
 And each had a cell that was deep and round, 
 Yet it would not impart, as the bee soon found, 
 One drop of its precious nectar. 
 
 Then she flew to one, that, by man and beast, 
 Was shunned for its stinging bristle ; 
 
 But it injured not the bee in the least ; 
 
 And she filled her pocket, and had a feast, 
 From the bloom of the purple thistle. 
 
 HANNAH F. GOULD. 
 
LESSONS IN ENGLISH 
 
 DAFFODILS 
 
 I wandered lonely as a cloud 
 
 That floats on high o'er vales and hills, 
 
 When all at once I saw a cloud, 
 
 A host of golden daffodils ; 
 
 Beside the lake, beneath the trees, 
 
 Fluttering and dancing in the breeze. 
 
 Continuous as the stars that shine 
 And twinkle on the milky way, 
 They stretched in never ending line 
 Along the margin of a bay : 
 Ten thousand saw I at a glance, 
 Tossing their heads in sprightly dance. 
 
 The waves beside them danced, but they 
 
 Outdid the sparkling waves in glee : 
 
 A poet could not but be gay, 
 
 In such a jocund company : 
 
 I gazed and gazed but little thought 
 
 What wealth the show to me had brought. 
 
 For oft when on my couch I lie 
 In vacant or in pensive mood, 
 They flash upon that inward eye 
 Which is the bliss of solitude, 
 And then my heart with pleasure fills 
 And dances with the daffodils. 
 
 WORDSWORTH. 
 
SELECTIONS AND STUDIES 133 
 
 WHAT THE BURDOCK WAS GOOD FOR 
 
 " Good for nothing," the farmer said, 
 
 As he made a sweep at the burdock's head ; 
 
 But then it was best, no doubt, 
 
 To come some day and root her out. 
 
 So he lowered his scythe, and went his way, 
 
 To see his corn, or gather his hay ; 
 
 And the weed grew 7 safe and strong and tall, 
 
 Close by the side of the garden wall. 
 
 " Good for home," cried the little toad, 
 As he hopped up out of the dusty road. 
 He had just been having a dreadful fright, 
 The boy who gave it was still in sight. 
 Here it was cool, and dark, and green, 
 The safest kind of a leafy screen. 
 The toad was happy : " For," said he, 
 "The burdock was plainly meant for me." 
 
 " Good for a prop," the spider thought, 
 And to and fro with care he wrought, 
 Till he fastened it well to an evergreen 
 And spun his cables fine between. 
 
 " Good for play," said a child perplexed 
 To know what frolic was coming next ; 
 So she gathered the burs that all despised, 
 And her city playmates were quite surprised 
 
I 3 4 LESSONS IN ENGLISH 
 
 To see what a beautiful basket or chair 
 Could be made with a little time and care. 
 They ranged their treasures around with pride, 
 And played all day by the burdock's side. 
 
 Selected. 
 
 NOVEMBER 
 
 The leaves are fading and falling, 
 The winds are rough and wild, 
 
 The birds have ceased their calling, 
 But let me tell you, my child, 
 
 Though day by day as it closes, 
 Doth darker and colder grow, 
 
 The roots of the bright red roses 
 Will keep alive in the snow. 
 
 And when the winter is over, 
 The boughs will get new leaves, 
 
 The quail will come back to the clover, 
 And the swallow back to the eaves. 
 
 The robin will wear on his bosom 
 A vest that is bright and new, 
 
 And the loveliest wayside blossom 
 Will shine with the sun and dew. 
 
 The leaves to-day are whirling, 
 The brooks are all dry and dumb, 
 
 But let me tell you, my darling, 
 The spring will be sure to come. 
 
SELECTIONS AND STUDIES 135 
 
 There must be rough cold weather, 
 
 And winds and rains so wild ; 
 Not all good things together 
 
 Come to us here, my child. 
 
 So when some dear joy loses 
 
 Its beauteous summer glow, 
 Think how the roots of the roses 
 
 Are kept alive in the .snow. 
 
 ALICE CARY. 
 
 STUDIES 
 
 Line i . (a) Of what do you think when you hear me say, " The 
 leaves are fading and falling " ? (b) What hint in those words ? 
 
 Line 2. Makes you think of what? 
 
 Line 3. (a) Means what? () Tell it in the prettiest way you 
 can. 
 
 Line 4. (Omit until you give the poem to the pupils to memo- 
 rize.) 
 
 Line 5. (a) " Day as it closes" means what? (3) Makes you 
 think of what? 
 
 Lines 5 and 6. What hint? 
 
 Line 7. What does " bright red roses " make you think of ? 
 
 Lines 7 and 8. (a) Why? (b) What are roots ? (c) Why do 
 you want them kept alive? (d) Did you ever see a rosebush out in 
 the snow? (e) How did it look? (/) Was it as it looked? 
 Why? (g) What should you think of when you look at it? 
 (ti) Any lesson for us ? 
 
 Line 9. " When the winter is over," makes you think of what? 
 
 Line 10. (a) How? (b) Where do they come from? (c) Do 
 you remember a time in spring when you saw the first new leaves on 
 a tree? (d) Tell about it. 
 
 Where you were. 
 What you were doing. 
 How everything looked. 
 How you felt. 
 
136 LESSONS IN ENGLISH 
 
 Line 11. (a) What can you tell about the quail? (b) What 
 does " the clover " make you think of ? (c) Why would the quail 
 come back to the clover? 
 
 Line 12. (a) Any hint?' () What do you think about the 
 swallow ? 
 
 Lines 13 and 14. (a) What hint? (b) Tell all you can of the 
 robin. (Read to them or tell them Whittier's poem, or tell them 
 the myth of how the robin's breast became red.) 
 
 Line 15. Makes you think of what blossom? Why? 
 
 Line 16. (a) Makes you think of what? Tell it in the prettiest 
 way you can. (b) What do the following tell you ? 
 
 " new leaves." 
 
 " the return of the quail." 
 
 "swallow." 
 
 " robin." 
 
 "shining wayside blossoms. 17 
 
 (c) Where have they been? (d) Why? (e) Any lesson for 
 us? What? (The last three stanzas may be omitted. The lesson 
 can be gained without them.) 
 
 FRIENDS 
 
 North wind came whistling through the wood 
 Where the tender sweet things grew, 
 
 The tall fair ferns and the maidenhair 
 And the gentle gentians, blue. 
 
 " It's very cold are we growing old ? " 
 They sighed, " What shall we do ? " 
 
 The sigh went up to the loving leaves. 
 
 "We must help/' they whispered low; 
 " They are frightened and weak, O brave old trees ! 
 
 But we love you well, you know." 
 And the trees said, " We are strong, make haste, 
 
 Down to the little ones go." 
 
SELECTIONS AND STUDIES 137 
 
 So the leaves went floating, floating down, 
 
 All yellow, and brown, and red ; 
 And the frail, little, trembling, thankful things 
 
 Lay still and were comforted. 
 And the blue sky smiled through the bare old trees, 
 
 Down on their safe warm bed. 
 
 From Classic Stories for the Little Ones, by LIDA BROWN 
 
 MCMURRAY. 
 
 [Public School Publishing Company, Bloomington, 111.] 
 
 STUDIES 
 
 Line i. What does (a) "North wind" make you think of? 
 (b) "Whistling"? (c) "Through the wood"? (d) Can you tell 
 the story about the north wind? (e) If the north wind were a 
 person, what kind of a person would it be? 
 
 Line 2. (a) What does " tender sweet things" mean? (b) What 
 does it make you think of ? 
 
 Line 3. (a) What do you think of when you hear "tall fair 
 ferns"? {b) What is the difference between these two kinds of 
 ferns? (c) Can you find both kinds? (d) Where do they grow? 
 
 Line 4. What are gentians? (A picture of gentians may be 
 found in Autumn of All the Year Round.) 
 
 Line 5. (a) What does "growing old" make you think of? 
 (b) Who said this? (c) Why did they say it? 
 
 Line 6. What hint in " they sighed " ? 
 
 Line 7. What do you think of when I say " the loving leaves " ? 
 
 Line 8. (a) What two hints? (b) "Whispered low" makes 
 you think of what? 
 
 Line 9. " Brave old trees " makes you think of what? 
 
 Line 10. Why did the leaves love the trees? 
 
 Lines n, 12. (a) What hint about the trees? (b) What kind 
 of trees do you think they are? {c) If an oak tree were a person, 
 what kind of a person would it be ? 
 
 Line 13. What does "floating" make you think of ? 
 
 Line 14. What hint ? 
 
138 LESSONS IN ENGLISH 
 
 Line 15. (a) What does " frail " mean? () Does it make you 
 think of anything? (V) What does " trembling " make you think of ? 
 
 Line 16. Means what? 
 
 Line 17. (a} " Blue sky " makes you think of what? (ft) What 
 does " bare old trees " make you think of ? (c) Why did the sky 
 smile? 
 
 Line 18. (a) Whose bed? (b) What made the bed safe and 
 warm? (V) What did the leaves say they must do? (d) How did 
 they help? (e) Was it much to do? (/) Did it help much? 
 (g) Any lesson for us ? 
 
 STORY OF A BLACKBIRD 
 
 But summer lasts not always, 
 
 And the leaves they faded brown ; 
 
 And when the breeze went over the trees, 
 They fluttered down and down. 
 
 The robin, and wren, and bluebird, 
 
 They sought a kindlier clime ; 
 But the blackbird cried, in his foolish pride, 
 
 " I'll see my own good time ! " 
 
 And whistled, whistled, and whistled, 
 
 Perhaps to hide his pain ; 
 Until, one day, the air grew gray 
 
 With the slant of the dull, slow rain. 
 
 And stiffer winds at sunset 
 
 Began to beat and blow ; 
 And next daylight the ground was white 
 
 With a good inch depth of snow. 
 
SELECTIONS AND STUDIES 139 
 
 And oh ! for the foolish blackbird, 
 That hadn't a house for his head ! 
 
 The bitter sleet began at his feet 
 And chilled and killed him dead ! 
 
 ALICE GARY. 
 
 STUDIES 
 
 ^Line I. What does summer make you think of? 
 
 Line 2. (a) What do " leaves," and "faded brown" make you 
 think of ? (b) What hint in these two lines ? 
 
 Line 3. Of what do you think when you hear "breeze," and 
 " over the trees " ? 
 
 Line 4. (a) Means what? () "Fluttered" makes you think 
 of what? 
 
 Lines 5 and 6. Mean what? 
 
 Lines 7 and 8. What does the blackbird think? 
 
 Line 9. What does "whistled " make you think of? 
 
 Line 10. (a) Why was he in pain? () What does "pain" 
 make you think of? (c) Why did he whistle? (d) What can we 
 learn from this ? 
 
 Line 1 1 . " The air grew gray," makes you think of what ? 
 
 Line 12. What does "dull, slow rain" make you think of? 
 
 Line 13. "Sunset" makes you think of what? 
 
 Lines 13 and 14. Tell you what? 
 
 Line 15. (a) What does "daylight" make you think of? 
 (b) "The ground was white," makes you think of what? 
 
 Line 16. Means what? 
 
 Lines 17 and 18. (a) What hint? (b) What should he have 
 done? 
 
 THE APPLE OF CONTENTMENT 
 
 There was once a woman who had three daughters. 
 The two oldest dressed in their Sunday clothes every 
 day and sat doing nothing. Christine, the youngest, 
 who was very pretty and who looked not at all like her 
 
i 4 o LESSONS IN ENGLISH 
 
 sisters or her mother, dressed in nothing but rags and 
 had to drive the geese to the hills every morning and 
 back at night. The first and second sisters had white 
 bread, and butter, and as much milk as they could 
 drink ; but Christine had to eat cheese parings and a 
 few bread crusts. 
 
 One morning as she went to the hills and worked on 
 her knitting as she went along, just as she came to the 
 bridge across the brook, there on an elder branch she 
 saw hanging a little red cap with a little silver bell at 
 the point of it. She looked at it a long time before 
 taking it down, then she smoothed it out nicely and put 
 it carefully into her pocket. She had gone but a few 
 steps with her geese, when she heard a voice calling, 
 " Christine! Christine!" 
 
 She turned ctnd saw the queerest little man, with a 
 great head covered with gray hair, and a very small 
 body. 
 
 " What do you want ? " she said. 
 
 " Oh ! I only want my cap again, for without it I 
 cannot go back to my home in the hill." 
 
 " But how did it come to be hanging from the bush ?" 
 said Christine. 
 
 " I was fishing, when a puff of wind came, and I 
 hung it up there to dry. Now, will you please give it 
 tome?" 
 
 " It's a pretty cap," said Christine. " How much 
 will you give me for it ? " 
 
 " I will gladly give you five dollars for it," said the 
 little man. 
 
 "No, that is not enough see, here is a little silver 
 bell hanging from the top of it, too." 
 
SELECTIONS AND STUDIES 141 
 
 "Well," said the little man, "I will give you a hun- 
 dred dollars for it." 
 
 " No," said Christine. " I don't care for money. 
 What else will you give me ? " 
 
 " See, Christine, I will give you this : " and he showed 
 her something that looked like a little black bean. 
 
 "Yes; but what is it?" 
 
 "That," said the little man, "is a seed from the 
 apple of contentment. Plant it, and a tree will grow 
 from it, and on the tree an apple. Everybody that sees 
 it will want it, but nobody can pick it but you. While 
 you have the apple you will never want for food or 
 clothes. And besides, as soon as you pick it, another 
 as good will grow in its place. Now will you give me 
 my cap ? " 
 
 "Oh! yes," said Christine. 
 
 He put on the cap and instantly disappeared. 
 
 Christine took the seed home and planted it. The 
 next morning when she opened her window, she saw a 
 beautiful tree with a golden apple hanging on it. She 
 picked it, and she thought she had never eaten anything 
 so good before. 
 
 When her oldest sister came out she just stood and 
 looked at the tree with its golden apple. By-and-by 
 she began to want the apple. She reached and reached, 
 she climbed and climbed, but she could not get it. 
 Then she frowned, pouted, and stamped her feet. 
 
 Then the second sister came out, and she did just as 
 the first had done. At last the mother came, and she 
 also tried to pick the apple. But it was of no use. 
 Christine had nothing to do but pick the apple whenever 
 she wanted it. 
 
142 LESSONS IN ENGLISH 
 
 One day the king came along, and seeing the golden 
 apple, sent one of his servants to ask if he might buy it 
 for a piece of gold. The mother said he might. She 
 took the gold, and then told him to pick the apple. 
 But he couldn't get it. He went and told the king that 
 the woman had taken the money for the apple, but that 
 he could not pick it, and told him how he had tried and 
 what had happened. The king sent others, but none 
 of them could pick it. Then he went himself, but he 
 could do no more than the others had done. By this 
 time the king was so anxious for the apple that he 
 offered the woman a pot of gold for it if she would get 
 it for him. But she said that she had tried and could 
 not pick it herself. So the king had to ride home with- 
 out so much as a smell of the apple. 
 
 After he had gone home, he could talk, and think, and 
 dream of nothing but that beautiful golden apple ; for 
 the more he couldn't get it the more he wanted it. At 
 last he grew very sad and sick, and then he sent for the 
 wise man of his kingdom, and asked if there was any 
 way of his getting the apple. The wise man said that 
 the owner of the tree was the only one who could pick 
 the apple. 
 
 So the king went back to the cottage and asked to 
 whom the tree belonged. The woman said that it 
 belonged to her eldest daughter. Then the king said 
 that she must pick the apple for him. But the mother 
 said : " She must not climb the tree before you. If you 
 will return to your palace, I will send it to you in good 
 time." 
 
 The king said, "Very well, but you must be very 
 quick about it." 
 
SELECTIONS AND STUDIES 143 
 
 When the king had gone they sent for Christine and 
 made her pick the apple. Then the eldest daughter 
 wrapped it in a napkin and set off for the king's 
 house. 
 
 When the king opened the napkin there was nothing 
 in it but a stone. He jumped from his chair, stamped 
 his foot, and asked what she meant by bringing him 
 that instead of the apple. The poor girl burst into 
 tears and the king told them to put her out of the 
 palace. 
 
 Then he sent the steward to see if there was not 
 another daughter. Then the mother said, " Yes, there 
 is another daughter, and the tree really belongs to her. 
 You go back home and she will bring it to you in a 
 short time." 
 
 Then they sent for Christine again and made her 
 pick the apple, and give it to the second daughter, 
 who wrapped it in a napkin, and set out for the king's 
 palace. But when the king opened the napkin there 
 was nothing in it but a round lump of mud. Then he 
 acted worse than before, and sent the girl home with 
 some awful threats. She went home sobbing and 
 trembling. 
 
 Then the king sent the steward to the cottage to see 
 if there were not other daughters. The mother said, 
 " Yes, there is another daughter, but she is very ugly 
 and untidy and ill-tempered and fit for nothing but 
 to tend geese." The steward said that she must come 
 and try to pick the apple. So they sent for her. When 
 she came the steward asked her if she could pick the 
 apple. She reached up and picked it easily. 
 
 Then the steward said that she must carry it to the 
 
H4 LESSONS IN ENGLISH 
 
 king. So she slipped it into her pocket and went with 
 the steward to the palace. 
 
 When they reached the palace everybody tittered and 
 laughed at the ragged goose girl. But the steward did 
 not care a bit. He took her right in before the king, 
 and the king asked if she had brought the apple. 
 
 "Yes, here it is," said Christine, and she thrust her 
 hand into her apron pocket and brought forth the very 
 apple and gave it to the king. Then the king took a 
 great bite of it, and as soon as he had tasted it, he said 
 it was the most delicious thing he had ever had. Then 
 he looked at Christine and thought that she was the 
 most beautiful girl that he had ever seen. Then he 
 asked Christine how she had ever got such a tree, and 
 Christine told him all about it. So the king ordered 
 that she should live in his palace, and that the tree 
 should be brought and planted under her chamber 
 window. As for Christine's rags, he minded them not 
 at all, for he had eaten of the apple of contentment. 
 And the king lived to be a very old man, and a great 
 king, and was very happy, and everybody loved him, 
 and when he died the people mourned for him a long 
 time. And all this came about because he had eaten of 
 
 the apple of contentment. 
 
 Adapted from Pepper and Salt. 
 
 [Copyright, 1885, by Harper Brothers.] 
 
 THE ANT AND THE GRASSHOPPER 
 
 One warm summer day an ant was busy in the field 
 gathering grains of wheat and corn for his winter food. 
 A grasshopper saw him at work, and laughed at him for 
 working so hard, when others were having a good time. 
 
SELECTIONS AND STUDIES 145 
 
 The ant said nothing. But when winter came and 
 the ground was frozejp. the poor grasshopper was nearly 
 dead with hunger, and came to the ant to beg something 
 to eat. Then the ant said to him : 
 
 " If you had worked when I did, instead of laughing 
 at me, you would not now be in need of food." 
 
 THE DOG AND HIS IMAGE 
 
 A dog, with a bit of meat in his mouth, was crossing 
 a river. Looking down he saw his image in the water 
 and thought it was another dog with a larger piece. 
 He dropped what he had and jumped into the water 
 after the other piece. So he lost both pieces the one 
 he had and the one he wanted. 
 
 . THE FARMER AND THE STORK 
 
 A farmer set a net in his field to catch the cranes that 
 were eating his grain. He caught the cranes and a 
 stork that was with them. The stork was lame, and 
 begged the farmer to let him go. 
 
 " I am not a crane," he said. " I am a stork. I am a 
 very good bird, and take care of my father and mother. 
 Look at my skin, it is not the color of the crane's." 
 
 The farmer said : " I do not know how that is. I 
 caught you with the cranes, and with the cranes you 
 must die." 
 
 THE TORTOISE AND THE HARE 
 
 A hare once laughed and made fun of a tortoise. 
 " How slow you are I How you creep along I " he said. 
 
146 LESSONS IN ENGLISH 
 
 " Do I ? " said the tortoise. " Try a race with me, and 
 I will beat you." 
 
 " You only say that for fun," said the hare. " But 
 come! I will race with you." 
 
 They asked the fox to show them where to start and 
 how far to run. 
 
 The tortoise started at once and jogged straight on. 
 
 The hare knew he could reach the goal in two or 
 three jumps, so he lay down and took a nap first. After 
 a while he awoke, then ran as fast as he could; but 
 when he reached the end, the tortoise sat waiting for 
 him. 
 
 THE WOLF AND THE SHEPHERD 
 
 A wolf once walked behind a flock of sheep, and did 
 them no harm. At first the shepherd thought him an 
 enemy, and kept a close watch ; but when the wolf made 
 no attempt to hurt the sheep, the shepherd began to 
 think he was as good as a watch-dog. 
 
 So one day when the shepherd went to the city, he 
 left the sheep in care of the wolf. That was the chance 
 the wolf had been waiting for. When the shepherd 
 came back and saw the sheep scattered, and many of 
 them gone, he said, "It serves me right." 
 
 THE ARAB AND HIS CAMEL 
 
 One very cold night, as an Arab sat in his tent, a 
 camel pushed the flap of the tent aside and looked in. 
 
 " Please, master," he said, " let me put my head inside 
 the tent, for it is cold outside." 
 
SELECTIONS AND STUDIES 147 
 
 " Certainly," said the Arab, cheerfully ; so the camel 
 stretched his head into the tent. 
 
 Presently the camel said, " If I might but warm my 
 neck also." 
 
 " Put your neck in also," said the Arab. 
 
 Soon the camel, who had been looking all around the 
 tent, said again : " It will take but a little more room if 
 I put my fore legs inside. It is hard to stand this way." 
 
 The Arab moved a little, and said, "You may put 
 your fore legs in also." 
 
 " May I not stand wholly inside ? " asked the camel, 
 finally. 
 
 " Yes, yes," said the Arab. "Come inside." 
 
 So the camel crowded into the tent. 
 
 They crowded each other very much ; so presently 
 the camel said, " I think you had better stand outside." 
 
 The Arab did not want to go, so the camel began to 
 push him. Then the Arab made haste to get on the 
 outside of the tent. 
 
INDEX 
 
 Adrift, 48. 
 
 Ant and the Grasshopper, The, 144. 
 Apple of Contentment, The, 139. 
 Arab and his Camel, The, 146. 
 Arbutus, 113. 
 Autumn Leaves, 109. 
 
 Bee, Clover and Thistle, The, 131. 
 Bryant, W. C., selection from, 39. 
 
 Gary, Alice, selections from, 39, 125, 
 
 134, 138. 
 
 Gary, Phoebe, selection from, 129. 
 Composition, Laws of, 48. 
 Cooper, George, selection from, 109. 
 Coordination, 48. 
 Curtis, Helen B., selection from, 121. 
 
 Daffodils, 132. 
 
 Daisy, The, 116. 
 
 Davie and May, 76. 
 
 Davis, Ruth, selection from, 101. 
 
 Dividing, 74. 
 
 Dog and his Image, The, 145. 
 
 Dugan, Caro A., selection from, 105. 
 
 Effects, of incident, 3; of mood, 4; of 
 character, 5 ; of kind, 5 ; of degree, 
 5; Direct, 7; Second-hand, 7; Nega- 
 tive, 8; Outline of, 5; Overlapping 
 of, 5; How to teach, n; First steps 
 in teaching, n; Second step, 12; 
 Third step, 12 ; Fourth step, 14 ; How 
 to rewrite lessons on, 10; Selections 
 for study of, 55 ; in pictures, 57. 
 
 Emerson, Ralph Waldo, selection from, 
 117. 
 
 Emotional Words and Phrases, 22. 
 
 Evening Cloud, The, no. 
 
 Fable of Cloudland, ^,125. 
 
 Fascinating Tale, A, 52. 
 
 Farmer and the Stork, The, 145. 
 
 Ferns, The, 107. 
 
 Follen, Mrs., selection from, 97. 
 
 Forms, Suggestions on teaching, 51. 
 
 Four Sunbeams, The, 130. 
 
 Fred's Pets, 58. 
 
 Friends, 136. 
 
 Frog learns a Lesson, The, 65. 
 
 Frost, The, in. 
 
 Fun for Two, 81. 
 
 Good Lesson, A, 92. 
 
 Good Morning, 105. 
 
 Good Way, A, 60. 
 
 Gould, Hannah F., selections from, 
 
 in, 130. 
 
 Gray, Thomas, selection from, 24. 
 Green, Dorothy, selections from, 103, 
 
 Harry and Carlo, 57. 
 
 Helping Hand, A, 50. 
 
 Hints. See Effects. 
 
 How Fred Obeyed Mamma, 82. 
 
 Howitt, Mary, selections from, 115, 
 
 116. 
 Hungry Boy, A, 10. 
 
 Tngelow, Jean, selection from, 119. 
 
 Jim the Bootblack, 77. 
 
 Joe, 79. 
 
 Just for Fun, 60. 
 
 Kind Deeds, 14. 
 
 Kitty's Christmas Present, 89. 
 
 149 
 
150 
 
 INDEX 
 
 Larcom, Lucy, selections from, 99, 118. 
 
 Last Night of Joan of Arc, The, 103. 
 
 Lesson, A, 129. 
 
 Lessons, how to rewrite, 10; in the 
 Lowest Class of the First Grade, n, 
 29, 35, 107 ; on Forms, 51 ; on Pic- 
 tures, 41. 
 
 Linnet, The Green, 105. 
 
 Little Boys Victory, A, 78. 
 
 Little Christian, ^,84. 
 
 Little Drops of Water, 129. 
 
 Little Streams, 102. 
 
 Lost Hat, The, 59. 
 
 Lost Purse, The, 19. 
 
 Lullaby, 97. 
 
 Marston, Philip Bourke, selection from, 
 
 24. 
 
 May, 121. 
 
 McMurray, Lida Brown, 136. 
 Metaphor, 33, 123. 
 M. K. B., selection from, 130. 
 Montgomery James, selection from, 
 
 116. 
 Mother's Good Night, 113. 
 
 November, 39, 134. 
 
 Only a Cent, 90. 
 Order, Law of, 48. 
 
 Party, The, 17. 
 Pictures, 41. 
 Poses, 41. 
 
 Proportion, Law of, 48. 
 Pussy Willow, The, 98. 
 
 Queer Friends, 62. 
 
 Seed, The, 101. 
 Selection, Law of, 48. 
 
 Selections for study, of effects, 55 ; of 
 emotional words and phrases, 96; 
 of metaphor and types, 123 ; of the 
 theme, 129. 
 
 Seven Times One, 119. 
 
 Snow/lakes, 118. 
 
 Spring, 96, 116. 
 
 Stingy Davy, 87. 
 
 Stop, Stop, Pretty Water, 97. 
 
 Story of a Blackbird, 138. 
 
 Strange Christmas Present, A, 68. 
 
 Subordination, Law of, 48. 
 
 Sugar Thief, The, 70. 
 
 Suggestions on Teaching Forms, 51. 
 
 Summer, 115. 
 
 Sunbeam, The, 29. 
 
 Taylor, Jane, selections from, 100, 120. 
 Tennyson, Alfred, selections from, 25, 
 
 97- 
 
 Theme, The, 38. 
 To a Waterfowl, 39. 
 Tortoise and Hare, The, 145. 
 Twinkle Little Star, 100. 
 Types, 33, 123. 
 
 Uncle Phil's Story, 63. 
 Unity, Law of, 48. 
 
 Violet, The, 99, 120. 
 
 Wasp and the Bee, The, 124. 
 We Thank Thee, 117. 
 Wee Clouds of Darkness, Such, 124. 
 What the Brook Saw, 86. 
 What the Burdock was Good for, 133. 
 Who Got the Nuts f 72. 
 Wilson, John, selection from, no. 
 Winter Wind, 104. 
 Wise Boy, A, 66. 
 
 Wolf and the Shepherd, The, 145. 
 Wordsworth, William, selections from, 
 23, 104, 105, 132. 
 
YB 02 1 44 
 
 781113 
 
 UNIVERSITY OF CALIFORNIA LIBRARY