Elson Grammar School Literature v4

Elson Grammar School Literature v4

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The Project Gutenberg EBook of Elson Grammer School Literature, Book Four. by William H. Elson and Christine Keck
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Title: Elson Grammer School Literature, Book Four.
Author: William H. Elson and Christine Keck
Release Date: November, 2004 [EBook #6963] [Yes, we are more than one year ahead of schedule] [This file was first posted on February 17, 2003]
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*** START OF THE PROJECT GUTENBERG EBOOK ELSON GRAMMER SCHOOL LIT. 4 ***
This eBook was produced bySteve Schulze, Charles Franks and the Online Distributed Proofreading Team.
ELSON
GRAMMAR SCHOOL LITERATURE
BOOK FOUR
BY
WILLIAM H. ELSON
SUPERINTENDENT OF SCHOOLS, CLEVELAND, OHIO
AND
CHRISTINE KECK
PRINCIPAL OF SIGSBEE SCHOOL, GRAND RAPIDS, MICH.
TABLE OF CONTENTS
1912
PART I--Famous Rides, Selections from Shakespeare and other Poets, and Studies in Rhythm.
FAMOUS RIDES:
PAUL REVERE'S RIDE, THE LEAP OF ROUSHAN BEG, THE CHARGE OF THE LIGHT BRIGADE AT BALAKLAVA,
THE DIVERTING HISTORY OF JOHN GILPIN, HOW THEY BROUGHT THE GOOD NEWS FROM GHENT TO AIX, INCIDENT OF THE FRENCH CAMP, HERVÉ RIEL,
STUDIES IN RHYTHM:
THE BUGLE SONG, THE BROOK, SONG OF THE CHATTAHOOCHEE, THE CATARACT OF LODORE, THE BELLS, ANNABEL LEE, OPPORTUNITY,
NATURE:
Henry W. Longfellow Henry W. Longfellow Alfred, Lord Tennyson William Cowper Robert Browning
Robert Browning Robert Browning
Alfred, Lord Tennyson Alfred, Lord Tennyson Sidney Lanier Robert Southey Edgar Allan Poe Edgar Allan Poe Edward Rowland Sil
TO A WATERFOWL, THE SKYLARK, TO A SKYLARK, THE CLOUD, APOSTROPHE TO THE OCEAN,
STORIES:
THE DESTRUCTION OF SENNACHERIB, THE EVE BEFORE WATERLOO, SONG OF THE GREEK BARD, MARCO BOZZARIS, THE BURIAL OF SIR JOHN MOORE, ABSALOM, LOCHINVAR, PARTING OF MARMION AND DOUGLAS, FOR A' THAT AND A' THAT,
SELECTIONS FROM SHAKESPEARE:
MERCY, THE SEVEN AGES OF MAN, POLONIUS'S ADVICE, MAN, HAMLET'S SOLILOQUY, REPUTATION, WOLSEY AND CROMWELL, CASSIO AND IAGO,
PART II--Great American Authors
WASHINGTON IRVING
RIP VAN WINKLE THE VOYAGE
NATHANIEL HAWTHORNE
THE GREAT STONE FACE MY VISIT TO NIAGARA
EDGAR ALLAN POE
A DESCENT INTO THE MAELSTRÖM
William Cullen Bryant James Hogg Percy Bysshe Shelley Percy Bysshe Shelley Lord Byron
Lord Byron Lord Byron Lord Byron Fitz-Greene Halleck Charles Wolfe Nathaniel Parker Wills Sir Walter Scott Sir Walter Scott Robert Burns
The Merchant of Venice As You Like It Hamlet Hamlet Hamlet Othello King Henry VIII Othell
THE RAVEN
HENRY WADSWORTH LONGFELLOW
EVANGELINE: A TALE OF ACADIE THE BUILDING OF THE SHIP
JOHN GREENLEAF WHITTIER
SNOW-BOUND THE SHIP BUILDERS
OLIVER WENDELL HOLMES
THE CHAMBERED NAUTILUS THE DEACON'S MASTERPIECE; OR THE WONDERFUL "ONE-HOSS SHAY" OLD IRONSIDES THE BOYS THE LAST LEAF
JAMES RUSSELL LOWELL
THE VISION OF SIR LAUNFAL YUSSOUF
SIDNEY LANIER
THE MARSHES OF GLYNN
PART III--Patriotic Selections
REGULUS BEFORE THE ROMAN SENATE, THE RETURN OF REGULUS, SPARTACUS TO THE GLADIATORS, MERIT BEFORE BIRTH, RIENZI'S ADDRESS TO THE ROMANS,
EMMET'S VINDICATION KING PHILLIP TO THE WHITE SETTLER, THE CAPTURE OF QUEBEC, ENGLAND AND HER COLONIES, THE WAY TO WEALTH, SPEECH ON A RESOLUTION TO PUT VIRGINIA INTO A STATE OF DEFENCE, THE MAN WITHOUT A COUNTRY,
LOVE OF COUNTRY, NAPOLEON BONAPARTE,
Epes Sargent Elijah Kellogg Elijah Kellogg Sallust Mary Russell Mitford Robert Emmet Edward Everett
Francis Parkman Edmund Burke Benjamin Franklin Patrick Henry
Edward Everett Hale Sir Walter Scott Charles Phillips
NAPOLEONBONAPARTE, THE TRUE GRANDEUR OF NATIONS, THE EVILS OF WAR, PEACE, THE POLICY OF A NATION, THE FIRST SETTLEMENT OF NEW ENGLAND, SUPPOSED SPEECH OF JOHN ADAMS, SOUTH CAROLINA AND THE UNION, REPLY TO HAYNE, DEDICATION SPEECH AT GETTYSBURG, LINCOLN, THE GREAT COMMONER, O CAPTAIN, MY CAPTAIN, FAREWELL ADDRESS,
THE MEMORY OF OUR FATHERS,
THE AMERICAN FLAG, WARREN'S ADDRESS AT THE BATTLE OF BUNKER HILL, COLUMBUS, RECESSIONAL--A VICTORIAN ODE, A DEFINITION OF A GENTLEMAN, GLOSSARY
COURSE OF READING
CharlesPhillips Charles Sumner Henry Clay John C. Calhoun Daniel Webster Daniel Webster Robert Hayne Daniel Webster Abraham Lincoln Edwin Markham Walt Whitman George Washington Henry Ward Beecher J. R. Drake John Pierpont Joaquin Miller Rudyard Kipling Cardinal Newman
In the ELSON READERS selections are grouped according to theme or authorship. This arrangement, however, is not intended to fix an order for reading in class; its purpose is to emphasise classification, facilitate comparison, and enable pupils to appreciate similarities and contrasts in the treatment of like themes by different authors.
To give variety, to meet the interests at different seasons and festivals, and to go from prose to poetry and from long to short selections, a carefully planned order of reading should be followed. Such an order of reading calls for a full consideration of all the factors mentioned above. The Course here offered meets these ends but may easily be varied to fit local conditions.
FIRST HALF-YEAR
BIOGRAPHY OF HAWTHORNE THE GREAT STONE FACE MY VISIT TO NIAGARA THE DIVERTING HISTORY OF JOHN GILPIN HOW THEY BROUGHT THE GOOD NEWS FROM GHENT TO AIX INCIDENT OF THE FRENCH CAMP HERVÉ RIEL COLUMBUS(COLUMBUS'S BIRTHDAY, OCT. 12) SUPPOSED SPEECH OF JOHN ADAMS SPEECH OF RESOLUTION TO PUT VIRGINIA INTO A STATE OF DEFENCE
THE EVE BEFORE WATERLOO THE BUGLE SONG BIOGRAPHY OF HOLMES THE CHAMBERED NAUTILUS THE DEACON'S MASTERPIECE OLD IRONSIDES THE BOYS THE LAST LEAF MERIT BEFORE BIRTH WEBSTER-HAYNE DEBATE THE BROOK THE SONG OF THE CHATTAHOOCHEE THE CATARACT OF LODORE BIOGRAPHY OF POE A DESCENT INTO THE MAELSTRÖM THE RAVEN ANNABEL LEE THE BELLS BIOGRAPHY OF WHITTIER(WHITTIER'S BIRTHDAY, DEC. 17) SNOW-BOUND(WHITTIER'S BIRTHDAY, DEC. 17) THE SHIP BUILDERS(WHITTIER'S BIRTHDAY, DEC. 17) REGULUS BEFORE THE ROMAN SENATE THE RETURN OF REGULUS SPARTACUS TO THE GLADIATORS THE WAY TO WEALTH(FRANKLIN'S BIRTHDAY, JAN, 17) EMMET'S VINDICATION MARCO BOZZARIS RIENZI'S ADDRESS TO THE ROMANS BIOGRAPHY OF LANIER(LANIER'S BIRTHDAY, FEB. 3) THE MARSHES OF GLYNN(LANIER'S BIRTHDAY, FEB. 3)
SECOND HALF-YEAR
LOVE OF COUNTRY WARREN'S ADDRESS PEACE, THE POLICY OF A NATION THE AMERICAN FLAG(LINCOLN'S BIRTHDAY, FEB. 12) LINCOLN, THE GREAT COMMONER(LINCOLN'S BIRTHDAY, FEB. 12) DEDICATION SPEECH(LINCOLN'S BIRTHDAY, FEB. 12) O CAPTAIN, MY CAPTAIN(WASHINGTON'S BIRTHDAY, FEB. 22) FAREWELL ADDRESS(WASHINGTON'S BIRTHDAY, FEB. 22) BIOGRAPHY OF LOWELL(LOWELL'S BIRTHDAY, FEB. 22) THE VISION OF SIR LAUNFAL(LOWELL'S BIRTHDAY, FEB. 22) YUSSOUF(LOWELL'S BIRTHDAY, FEB. 22) BIOGRAPHY OF LONGFELLOW(LONGFELLOW'S BIRTHDAY, FEB. 27) EVANGELINE(LONGFELLOW'S BIRTHDAY, FEB. 27) THE BUILDING OF THE SHIP(LONGFELLOW'S BIRTHDAY, FEB. 27) NAPOLEON BONAPARTE THE EVILS OF WAR BIOGRAPHY OF IRVING(IRVING'S BIRTHDAY, APRIL 3) RIP VAN WINKLE(IRVING'S BIRTHDAY, APRIL 3)
THE VOYAGE(IRVING'S BIRTHDAY, APRIL 3) PAUL REVERE'S RIDE(APRIL 19) THE LEAP OF ROUSHAN BEG THE CHARGE OF THE LIGHT BRIGADE SELECTIONS FROM SHAKESPEARE(SHAKESPEARE'S BIRTHDAY, APRIL 23) TO A WATER FOWL THE SKYLARK TO A SKYLARK(SPRING AND ARBOR DAY) THE CLOUD APOSTROPHE TO THE OCEAN ABSALOM LOCHINVAR PARTING OF MARMION AND DOUGLAS FOR A' THAT AND A' THAT KING PHILIP TO THE WHITE SETTLER THE CAPTURE OF QUEBEC ENGLAND AND HER COLONIES THE MAN WITHOUT A COUNTRY OPPORTUNITY THE DESTRUCTION OF SENNACHERIB SONG OF THE GREEK BARD THE BURIAL OF SIR JOHN MOORE THE TRUE GRANDEUR OF NATIONS THE MEMORY OF OUR FATHERS THE RECESSIONAL
INTRODUCTION
This book is designed to furnish reading material of choice literary and dramatic quality. The selections for the most part are those that have stood the test of time and are acknowledged masterpieces. The groupings into the separate parts will aid both teachers and pupils in the classification of the material, indicating at a glance the range and variety of the literature included.
Part One deals with poetry, and it is believed the poems offered in this group are unsurpassed. No effort on the teacher's part will be needed to arouse the enthusiasm of pupils who read the series of famous rides with which this group opens. The thrill of delight which children feel as they read of "A hurry of hoofs in a village street," or "Charging an army while all the world wondered," may lead to the stronger and more enduring emotions of patriotism and devotion. "John Gilpin's Ride," which has furnished amusement for generations of old and young, finds a place here. The rhythmic movement of these poems makes a natural transition to those selections especially designed as studies in rhythm. The series of nature poems and selections from Shakespeare complete a group of choice literary creations. Part Two is given to a study of the great American authors, and no apology is needed either for the choice of material or for the prominence given to this group. It is especially suited to parallel and supplement the work of this grade in American history. Part Three contains patriotic selections and some of the great orations. These are lofty and inspiring in style, within the grasp of the pupils, and are especially helpful in developing power of expression.
It is not expected that the order of selections will be followed. On the contrary, each teacher will follow the order which will best suit her own plans and purposes. While there is much material in
the book that will re-enforce lessons in history, geography, and nature study, yet it is not for this that these selections should be studied, but rather for the pleasure that comes from reading beautiful thoughts beautifully expressed. The reading lesson should therefore be a study of literature, and it should lead the children to find beauty of thought and imagery, fitness in figures of speech, and delicate shades of meaning in words. Literature is an art, and the chief aim of the reading lesson is to discover and interpret its art qualities. In this way children learn how to read books and are enabled to appreciate the literary treasures of the race. The business of the reading book is to furnish the best available material for this purpose.
It is worth while to make a thorough study of a few well-chosen selections. Through the power gained in this way children are enabled to interpret and enjoy other selections without the aid of the teacher. If the class work is for the most part of the intensive kind, the pupils will read the remaining lessons alone for sheer pleasure, which is at once the secret and goal of good teaching in literature. Moreover, they will exercise a discriminating taste and judgment in their choice of reading matter. To love good literature, to find pleasure in reading it and to gain power to choose it with discrimination are the supreme ends to be attained by the reading lesson. For this reason, some selections should be read many times for the pleasure they give the children. In music the teacher sometimes calls for expressions of preference among songs: "What song shall we sing, children?" So in reading, "What selection shall we read?" is a good question for the teacher to ask frequently. Thus children come to make familiar friends of some of the stories and poems, and find genuine enjoyment in reading these again and again.
Good results may also be obtained by assigning to a pupil a particular lesson which he is expected to prepare. On a given day he will read to the class the selection assigned to him. The orations are especially suited to this mode of treatment. The pupil who can read one selection well has gone a long way toward being a good reader. The teacher who said to her pupils, "I shall read to you tomorrow," recognized this truth and knew the value of an occasional exercise of that kind. Good pedagogy approves of a judicious use of methods of imitation in teaching reading.
The biographies are intended to acquaint the children with the personal characteristics and lives of the authors, making them more interesting and real to the children, giving them the human touch and incidentally furnishing helpful data for interpreting their writings. In this connection, the authors have, by permission, drawn freely from Professor Newcomer's English and American Literatures. "Helps to Study" include questions and notes designed to stimulate inquiry on the part of pupils and to suggest fruitful lines of study. Only a few points are suggested, to indicate the way, and no attempt is made to cover the ground adequately; this remains for the teacher to do.
While placing emphasis primarily on the thought-getting process the formalities of thought-giving must not be overlooked. The technique of reading, though always subordinate and secondary to the mastery of the thought, nevertheless claims constant and careful attention. Good reading requires clear enunciation and correct pronunciation and these can be secured only when the teacher steadily insists upon them. The increase of foreign elements in our school population and the influence of these upon clearness and accuracy of speech furnish added reason for attention to these details. Special drill exercises should be given and the habit of using the dictionary freely should be firmly established in pupils. The ready use of the dictionary and other reference books for pronunciation and meaning of words, for historical and mythical allusions should be steadily cultivated. Without doubt much of the reading accepted in the public schools is seriously deficient in these particulars. The art of good reading can be cultivated by judicious training and the school should spare no pains to realize this result.
Professor Clark, in his book on "How to Teach Reading," sets forth the four elements of vocal expression--Time, Pitch, Quality and Force. We quote a few of the sentences from his treatment of each of these elementary topics.
"I. TIME.Time, then, refers to the rate of vocal movement. It may be fast, or moderate, or slow, according to the amount of what may be called the collateral thinking accompanying the reading, of any given passage. To put it another way: a phrase is read slowly because it means much; because the thought is large, sublime, deep. The collateral thinking may be revealed by an expansive paraphrase. For instance, in the lines
 "Not a drum was heard, not a funeral note  As his corse to the rampart we hurried,"
whydo we read slowly? The paraphrase answers the question. It was midnight. There lay our beloved leader, who should have been borne in triumphal procession to his last resting place. Bells should have tolled, cannon thundered, and thousands should have followed his bier. But now, alas, by night, by stealth, without even a single drum tap, in fear and dread, we crept breathless to the rampart. This, or any one of a hundred other paraphrases, will suffice to render the vocal movement slow. And so it is with all slow time. Let it be remembered that a profound or sublime thought may be uttered in fast time; but that when we dwell upon that thought, when we hold it before the mind, the time must necessarily be slow. If a child read too rapidly, it is because his mind is not sufficiently occupied with the thought; if he read too slowly, it is because he does not get the words; or because he is temperamentally slow; or because, and this is the most likely explanation, he is making too much of a small idea. To tell him to read fast or slow is but to make him affected, and, incidentally, even if unconsciously, to impress upon him that reading is a matter of mechanics, and not of thought-getting and thought-giving."
"II. PITCH.By Pitch is meant everything that has to do with the acuteness or gravity of the tone--in other words, with keys, melodies, inflections and modulations. When we say of one that he speaks in a high key, we should be understood as meaning that his pitch is prevailingly high; and that the reverse is true when we say of one that he speaks in a low key. While it is true that the key differs in individuals, yet experience shows that within a note or two, we all use the same keys in expressing the same states of minds. The question for us is, what determines the key? It can be set down as a fixed principle, that controlled mental states are expressed by low keys, while the high keys are the manifestation of the less controlled mental conditions. Drills in inflections as such are of very little value, and potentially very harmful. Most pupils have no difficulty in making proper inflections, so that for them class drills are time wasted; for those whose reading is monotonous, because of lack of melodic variety, the best drills are those which teach them to make a careful analysis of the sentences, and those which awaken them to the necessity of impressing the thought upon others. We have learned that when a pupil has the proper motive in mind and is desirous of conveying his intention to another, a certain melody will always manifest that intention. The melody, then, is the criterion of the pupil's purpose. The moment a pupil loses sight of a phrase and its relation to the other phrases, that moment his melody betrays him."
"III. QUALITY.Quality manifests emotional states. By Quality we mean that subtle element in the voice by which is expressed at one time tenderness, at another harshness, at another awe, and so on through the whole gamut of feeling. The teacher now knows that emotion affects the quality of tone. Let him then use this knowledge as he has learned to use his knowledge of the other criteria. We recognize instinctively the qualities that express sorrow, tenderness, joy, and the other states of feeling. When the proper quality does not appear it is because the child has no feeling, or the wrong feeling, generally the former. There is but one way to correct the expression,
i. e., by stimulating the imagination."
"IV. FORCE.Force manifests the degree of mental energy. When we speak in a loud voice, there is much energy; when softly, there is little. Do not tell the child to read louder. If you do, you will get loudness--that awful grating schoolboy loudness--without a particle of expression in it. Many a child reads well, but is bashful. When we tell him to read louder, he braces himself for the effort and kills the quality, which is the finer breath and spirit of oral expression, and gives us a purely physical thing--force. Put your weak-voiced readers on the platform; let them face the class and talk to you, seated in the middle of the room, and you will get all the force you need. On the whole, we have too much force, rather than too little. Let the teacher learn that we want quality, not quantity, and our statement of the mental action behind force will be of much benefit in creating the proper conditions."
To discriminating teachers it will be apparent that this book is not the usual school reader. On the contrary it differs widely from this in the cultural value of the selections, in the classification and arrangement of material, in the variety of interest to which it appeals, and in the abundance of classic literature from American authors which it contains. It aims to furnish the best in poetry and prose to be found in the literature of the English-speaking race and to furnish it in abundance. If these familiar old selections, long accepted as among the best in literature, shall be the means of cultivating in pupils a taste for good reading, the book will have fulfilled its purpose.
For permission to use valuable selections from their lists, acknowledgment is due to Messrs. Houghton, Mifflin and Company, Charles Scribner's Sons, and The Whitaker and Ray Company.
Grateful acknowledgment is also made to those teachers who have given valuable suggestions and criticisms in the compilation of this book.
THE AUTHORS.
April, 1909.
PART I.
FAMOUS RIDES, SELECTIONS FROM SHAKESPEARE AND OTHER POETS, AND STUDIES IN RHYTHM
 "We live in deeds, not years, in thoughts, not breaths;  In feelings, not in figures on a dial."
--PHILIP JAMES BAILEY.
PAUL REVERE'S RIDE
HENRY WADSWORTH LONGFELLOW
 Listen, my children, and you shall hear  Of the midnight ride of Paul Revere,  On the eighteenth of April, in Seventy-five:  Hardly a man is now alive  Who remembers that famous day and year.
 He said to his friend: "If the British march  By land or sea from the town tonight,  Hang a lantern aloft in the belfry-arch  Of the North Church tower, as a signal-light,-- One if by land, and two if by sea;  And I on the opposite shore will be,  Ready to ride and spread the alarm  Through every Middlesex village and farm,  For the country-folk to be up and to arm."
 Then he said "good night," and with muffled oar  Silently rowed to the Charlestown shore,  Just as the moon rose over the bay,  Where, swinging wide at her moorings, lay  The Somerset, British man-of-war:  A phantom ship, with each mast and spar  Across the moon, like a prison-bar,  And a huge black hulk, that was magnified  By its own reflection in the tide.
 Meanwhile, his friend through alley and street  Wanders and watches with eager ears,  Till in the silence around him he hears  The muster of men at the barrack-door,  The sound of arms, and the tramp of feet,  And the measured tread of the grenadiers  Marching down to their boats on the shore.
 Then he climbed to the tower of the church,  Up the wooden stairs, with stealthy tread,  To the belfry-chamber overhead,  And startled the pigeons from their perch  On the sombre rafters, that round him made  Masses and moving shapes of shade,-- Up the trembling ladder, steep and tall,  To the highest window in the wall,  Where hepaused to listen and look down