Ho, Philip! send for charity thy Mexican pistoles, That Antwerp monks may sing a mass for thy poor spearmen's souls. 64 Ho, gallant nobles of the League! look that your arms be bright; Ho, burghers of St. Genevieve! keep watch and ward to-night. For our God hath crushed the tyrant, our God hath raised the slave, And mocked the counsel of the wise and the valor of the brave. 70 WRITTEN EXERCISES Write a biographical sketch of the following authors, one or more of whose productions we have studied: 1. SIR WALTER SCOTT, author of Rosabelle and Lochinvar. 2. THOMAS CAMPBELL, author of Lord Ullin's Daughter. 3. JAMES RUSsell Lowell, author of The Bobolink. 4. ALFRED TENNYSON, author of Lady Clare and Defense of Lucknow. 5. ROBERT BROWNING, author of Incident of the French Camp. 6. LORD MACAULAY, author of The Battle of Ivry. ADDITIONAL PIECES FOR STUDY Longfellow's Phantom Ship, Falcon of Ser Federigo, Birds of Killingworth, Bells of Atri; Tennyson's Enoch Arden; Whittier's Conductor Bradley, Two Rabbis, Legend of St. Mark; Bryant's Planting of the Apple Tree, Two Travelers; Cowper's John Gilpin, Alexander Selkirk; Campbell's Battle of the Baltic, Soldier's Dream, Napoleon and the British Sailor. CHAPTER V OUTLINES FOR THE STUDY OF A PROSE SELECTION THUS far in this book we have confined our attention to the study of standard poems. We are now prepared to begin a similar work in prose selections. To insure good results, some definite plan of study must first be arranged. In a general way prose selections need less methods and devices than poetry to lead pupils to appreciate and admire them. We present the following guide analysis for the study of a prose selection. Several of its points have been fully explained in the foregoing chapters; hence it will not be necessary to repeat the detailed explanation already given. GUIDE ANALYSIS FOR THE STUDY OF A PROSE SELECTION I. Read the piece carefully and thoughtfully. II. Recite the story of the piece. III. Write a paraphrase of the piece. IV. Divide the selection into parts or scenes. V. The unity of the parts. VI. Minor details which illustrate the piece. VII. The study of the text. IX. Memory quotations. X. The author of the piece. EXPLANATION OF THE GUIDE ANALYSIS Read the Piece carefully and thoughtfully. - This point has been fully explained. See p. 12. Recite the Story of the Piece. In many prose pieces, as in many poems, it is not practicable to attempt to tell the story; in fact, there is oftentimes very little of a "story" to tell. (See p. 12.) Hence, in prose selections this direction may be omitted at the discretion of the teacher. Write a Paraphrase of the Piece. In a general way follow the directions as fully explained on p. 33. Divide the Selection into Parts or Scenes. - See p. 34. The Unity of the Parts. Whenever it can be done conveniently, follow the directions as explained on p. 35. In many prose pieces, however, it is not always advisable or practicable. Minor Details which illustrate the Poem. There will be found ample material for exact, useful, and interesting study, in a full knowledge of the allusions which occur so plentifully in all standard writings. No difficult point in syntax, prosody, accidence, or pronunciation, no variation in manners or customs, no historical or geographical allusion, should be passed over without explanation. Special pains must be taken to get a thorough understanding of the force and character of epithets, the meaning of similes, the expansions of metaphors, and the exact meaning of individual words. See p. 36. The Study of the Text.- Follow the general directions as given on pp. 13, 36. An Exercise in Criticism.-(See p. 58.) This is one point upon which it is impossible to give short rules, and on which, nevertheless, stress should be laid. The amount and completeness of criticism, which can be usefully employed, will depend on the capacity of teacher and pupil; at the same time, no author can be satisfactorily studied unless the student's attention is drawn to his chief peculiarities of thought and language, to the place he occupies in the history of literature, and the influences which seem to have affected him most. Memory Quotations.1 — See p. 58. The Author of the Piece. (See p. 14.) The life and times of the author should be studied, and the connection between the characteristic features of the literature of his era, and the general history of the period, developed. Any illustrations of the modes of thought, manners, customs, political views, etc., of the period, that can be drawn from his pages, should be brought to the attention of the class. Not only the life of the special author whom we are studying, but also the lives of his friends, rivals, and otherwise connected contemporaries, should be carefully examined. 1 "To what extent shall the memory be called upon in the study of English literature? Not, I think, to commit long passages, whole books, and cantos of poems. Let the pupil absorb as much as possible in frequent reading and in study. Now and then, let a few striking lines, that have been learned by heart rather than committed to memory, be recited. Do not make a disagreeable task of any such exercise. For, that our pupils may receive the highest and best influence from this study of English literature, it is essential that they love it, and retain only pleasant memories of the hours spent at school in the society of its best authors."— L. R. WILLISTON. A METHOD OF CLASS EXERCISES IN ENGLISH LITERATURE [Arranged by Homer B. Sprague] The following excellent suggestions may prove helpful. 1. At the beginning of the daily exercise, or as often as need be, require a statement of — (a) The main object of the author in the whole poem, oratíon, play, or other production, of which to-day's lesson is a part. (b) The object of the author in, this particular canto, chapter, act, or other division of the main work. 2. Read or recite from memory (or have the pupils do it) the finest part or parts of the last lesson. The elocutionary talent of the class should be utilized here, so that the author may appear at his best. 3. Require at times (often enough to keep the whole fresh in memory) a résumé of the “argument,” story, or succession of topics, up to the present lesson. 4. Let the student read aloud the sentence, paragraph, or lines, now (or previously) assigned. The appointed portion should have some unity. 5. If the passage is fine, let the student interpret exactly the meaning by substituting his own words; explain peculiarities. This paraphrase should often be in writing. 6. Immediate object of the author in these lines? Is this object relevant? important? appropriate in this place? 7. Ingredients (particular thoughts) that make up the passage? Are they in good taste? just? natural? well arranged? sufficient? superfluous? 8. Point out other merits or defects; anything noteworthy as regards nobleness of principle or sentiment, grace, delicacy, beauty, rhythm, sublimity, wit, wisdom, humor, naïveté, kindness, pathos, energy, concentrated truth, logical force, originality, allusions, kindred passages, principles illustrated, etc. |