A manual for teachers to accompany "Journeys through Bookland,"

Preface

Journeys Through Bookland was prepared for boys and girls in their homes. The studies, comments and helps were written for children and their parents. Nearly all the material is excellent for the use of teachers, and they early discovered its value. In fact, the teachers have been so insistent in asking for the set that it seemed wise to the author to write a manual for their exclusive use. The present book is the result of his efforts in that direction.

He has adapted all that was in Journeys to the schoolroom, has added a great many suggestions in methods and has correlated the whole mass of literature so that it is available for ready use in the classes where it is wanted.

By seeing and using in the school the same methods that are best in the home, the two great institutions, the home and the school, are brought nearer together and helped to work in unison for the good of the children. To bring parents and teacher together on common ground is a thing which all desire. May Journeys Through Bookland help in the consummation of that wish !

The Manual is a plain, straightforward, business-like book — a thing to be kept by one's side and used constantly. That it may be so treated is the earnest wish of the author.

Charles H. Sylvester.

Chicago, 1911.

ANALYTICAL TABLE OF CONTENTS

Page

TALKS WITH TEACHEES 1

I. Beading Stories 3

The Hare and the Tortoise 6

The Fox and the Crow 8

Beth Gelert 15

The Passing of Arthur 17

II. Close Beading 18

Industry and Sloth 19

From The Death of Caesar 21

Two Phases of the Subject 24

III. Poetry 26

The First Snowfall -. 26

The Forsaken Merman 31

The Petrified Fern 38

IV. Pictures and Their Use 43

TaJce Warning 43

We Examined Our Treasure 45

V. Story Telling 49

Herve Biel 54

VI. Memorizing 61

One Hundred Choice Quotations 61

VII. Supplementary Book Lists 75

VIII. Contents and Plan of ' ' Journeys " 76

" JOUBNEYS" IN THE CLASSEOOM 77

Introduction 79

Beading 80

I. Nursery Ehymes 80

Hidden Significance 81

II. Ehymes Teaching Facts 82

III. Kindness to Animals 83

IV. Philosophical and Moral Ehymes 83

V. Maternal Care 84

VI. Pure Fun 85

VII. ' ' Counting Out ' ' Ehymes 86

VIII. Critical Studies 86

IX. Practical Value 86

II. LANGUAGE 88

A. Oral Lessons 90

Classified Selections 93

The Wind and the Sun 96

B. Written Language 99

I. Introduction 99

II. Literature in Written Language Work. 102 vi Contexts

Page

A. Narration 103

Bobin Hood 104

B. Description 105

Sir Galahad 106

Journey to the Metropolis 106

Children's Books of the Past 107

The King of the Golden Biver 107

On the Beceipt of My Mother's Picture 108

C. Exposition 109

Martin Pelaez 110

D. Argument Ill

The Boston Massacre Ill

E. Conclusion 117

An Exciting Canoe Bace 118

Classified Selections 120

A. For Narration 120

B. For Description 120

C. For Exposition 121

D. For Argument 121

III. Nature Study 123

First. Broadening Nature Study 124

A. Seven Long Selections 124

1. Tom, the Water Baby 124

2. Bobinson Crusoe 125

3. Swiss Family Bobinson 125

4. Brute Neighbors 126

5. The Pond in Winter 127

6. Winter Animals 127

7. Ants and Trees That Help Each Other. 128

B. Classified Selections 129

I. Flowers and Plant Life 129

II. Birds 131

III. Four-footed Animals , 132

IV. Eeptiles 134

V. Insects 135

VI. Denizens of the Water 135

VII. Natural Phenomena 136

VILT. Geographical 137

Second. Nature- allusions in Literatue .137

The King of the Golden Biver 138

IV. Geography and History 145

I. Classified Selections 145

1. Largely Geographical , . . 146

a. Juvenile Poems 146

b. European 146

c. Fanciful Legends ; 147

d. Japan and India 147

e. Longitude 147

f . Plants 147

g. Animal Life 147

h. Natural Phenomena 147

2. Indians and Their Habits 148

Contents vii

Page

3. Biography 148

a. Authors 148

b. Biblical Characters 149

c. JEsop 149

d. English History 149

e. American History 149

f . Koman History 149

4. Myths From Several Sources 149

a. Grecian and Eoman 149

b. Northern Europe 150

c. Miscellaneous 150

5. Legendary Heroes 150

a. Scandinavian 150

b. German 150

c. English 150

d. French 151

e. Spanish 151

f . Greek 151

g. Eoman 151

6. Historical Selctions 151

a. Northern Europe 151

b. France and Napoleon 151

c. Classic Lands 151

d. British Isles 152

e. United States 152

f . American 153

II. Suggestions in Method 153

1. Elementary Lessons 153

The Wind 156

Alfred the Great 159

2. Formal Lessons in History 163

Burgoyne 's Campaign 165

I. Influence of Beading 171

II. The Teacher's Responsibility 173

III. The Function of ' ' Journeys ' ' 174

A. Classified Selections —

1. Wisdom, etc 175

2. Little Things 176

3. Promptness, etc 176

4. Independence and Equality 176

5. Courage, etc 176

6. Conceit 177

7. Flattery 177

B. Emotional Factors 177

1. Home and Family 178

2. Honesty and Truthfulness 179

3. Friendliness and Charity 179

4. Generosity 180

5. Kindness to Animals 180

6. Patience and Gentleness 181

7. Faithfulness 181 viii Contents

Page

8. Envy and Covetousness 181

9. Contentment etc 181

C. Patriotism and Devotion 181

2. Devout Poems 182

1. Patriotism 182

VI. ' * Journeys ' ' in the High School 183

A. Classification of Studies in Journeys 184

I. In Character 184

II. In Plot 184

III. In Description 184

IV. Method of Analysis 185

V. General Studies 185

VI. Ehyme, Meter and Melody 185

VII. Various Interpretations 185

VIII. Biographical Sketches 186

B. Topics for Study 187

I. Ballads 188

II. Essays 188

III. Fables 189

IV. Fairy Lore and Folk Lore. 189

V. Fiction 190

VI. Legendary Heroes 190

VII. Lyrics 192

VIII. Myths 192

IX. Don Quixote 192

X. Odes 192

XL Poetry 192

XII. Wit and Humor 192

VII. Special Days in School 193

I. Bird Day 194

II. Memorial Day 194

III. Christmas 195

IV. Birthdays 195

V. Dramatization 195

VI. An Old-fashioned Afternoon 197

TALKS WITH TEACHERS

I. READING STORIES (Volume X, page 331)

No part of the section known as Talks with Parents in Journeys Through Bookland is without interest to teachers ; all of it is extremely valuable. However, some explanation may be helpful and much can be added that will assist in conducting reading lessons. We will follow the order of the Talks in this section of the Manual.

Read carefully pages 331-337. The principles given on page 336 are those which every teacher should know, for they are the justification of story-reading; it is only when read for such purposes that fiction is valuable.

In the tabulation on page 329, under the head of The Study of the Story, are given the points to be made in the reading class, whenever a story justifies the use of all. They are worth repeating here:

The Study of the Story:

a. The Plot.

b. The Persons.

c. The Scene of the Story.

d. The Author's Purpose and the Lesson.

e. The Author's Method and Style. /. The Emotions.

It is evident that a> b, c, will interest children of all ages; that all will be benefited by the "lesson" of a story, if it be judiciously presented; but that only the older children will be much interested in d, e and /.

The several topics above given are elaborated in the tenth volume. The method of the study of the plot begins at A (Page 338) . It is illustrated with an outline of the plot of Cinderella, from Volume I, page 231, and then on page 346 of Volume X is given a list of other stories whose plots are worked out in the several volumes of Journeys Through Bookland.

In a similar manner and with similar lists, the other topics in Volume X are explained, viz : B, The Persons (page 346) ; C, The Scene of the Story (page 352) ; D, The Authors Purpose and the Lesson (page 359) ; E, The Author's Method and Style (page 363) ; F, The Emotions (page 366) .

In the references given above the teacher will find sufficient explanation to give a thorough understanding of this method of teaching reading — that is, of teaching literature. No particular care is given to oral expression in this method, but expression will improve as understanding grows and appreciation and sympathy are aroused. Oral reading is necessary, but assistance in teaching it must be found elsewhere.

To make this method even clearer and to collect and classify the facts more systematically, we will give below a few outlines for the complete study of stories. In the volumes of Jour-

NEYSj intended as they were, primarily for reading by children, it was not thought wise to make the studies too extensive, or to attach too much comment to the selections, lest the young reader weary of his task or neglect it entirely. With the teacher, however, the case is different.

To teach properly, the teacher must not only know her subject thoroughly, but she must use judgment in selecting the time to present it, in the choice of methods to use, and in determining how much to give to any class. The age of pupils, their advancement, the influence of home surroundings upon them, their sex, and the school equipment are some of the miscellaneous factors that enter into the decisions of the wide-awake teacher. A good general principle to follow is to present to the pupils only so much as will hold their interest ; present it in the manner that will best retain their interest, and change the subject or the method when interest flags.

Speaking in general terms, pupils are most interested in that of which they already know something, and prefer to study intensively something which is "easy to read." The familiar selections of old readers often are found to be alive with interest, if studied by a new method. A method is understood most easily when it is applied to a simple subject; in this case, to a story in which the youngest children will be interested. A word of caution may be worth while: Especially, with young children, "Do not let the method be seen; it is the story that is to be brought out."

The Hare and the Tortoise (Volume I, page 68)

A. The Plot The slow Tortoise and the speedy Hare ran a race. The Hare, full of conceit, loitered and slept by the way, while the Tortoise won in his plodding fashion.

Incidents :

1. The Hare derides the Tortoise.

2. The Tortoise challenges the Hare.

3. The Fox becomes judge and holds the

stakes.

4. The race begins in heat and dust.

5. The Hare takes a rest and a nap.

6. The Tortoise in comfort passes the

Hare.

7. The Hare awakes, thinks the Tortoise behind, and stops to eat.

8. The Hare discovers that the Tortoise

has passed and begins his pursuit.

9. The Hare finds the Tortoise at the

brook. 10. The Fox awards the money to the Tortoise.

B. The Persons. There are three characters in the story: the Hare, the Tortoise and the Fox.

1. The Hare. He is a tall, long-legged animal, who can leap long distances and run like the wind. In character he is unkind, impudent, proud and lazy.

2. The Tortoise. He is a clumsy, shortlegged turtle, who carries a heavy box-shell around his body. He cannot jump at all, and he moves very slowly, flat on the ground, even his tail dragging in the dust. But he is wise, steady, not easily discouraged, and sticks to his task till it is done.

3. The Fox. He is a wise old judge, who cannot let the loser go without a word of advice.

C. The Scene. The race takes place along a dusty road on a hot day. There is a big clover patch, where the Hare rests, and at the end of the course is a cool and delightful brook or river.

D. The Author's Purpose and the Lesson. The author of this old fable intended to teach the lesson that he puts into the last sentence, "Steady-going wins the race."

E. The Authors Method and Style. His method is to teach a truth by means of an interesting story. His style is graphic and dramatic. He gives three animals the power to talk, and he makes them talk so that they seem almost like real human beings. At any rate, he makes us see the character of each very clearly.

F. Emotions. We see in the Hare the feelings of conceit, contempt, and laziness; of surprise, fear, and excitement; of chagrin and disappointment. In the Tortoise we see a little of resentment and some self-confidence; then courage, determination, and persistence ; at last, calm enjoyment and joy at winning. The Fox looks on as we do, and has confidence in the Tortoise and a little spice of contempt for the Hare. Then he is pleased that the Tortoise should win, and enjoys giving the Hare a stinging bit of advice.

G. Conclusion. It is because the little fable has so much in it that it has lived for centuries, and you have only to speak to any cultivated person about the Hare and the Tortoise to remind him that "Steady-going wins the race."

The preceding analysis shows what a teacher should expect to bring out from a little class, reading the fable for the first time, or from a high-school class making a careful study of fables. In both cases, however, the facts should be brought out by questions, with the expectation that the juveniles would not express themselves in anything like the words given above.

The Food and the Crow (Volume I, page 60)

The following analysis of The Fox and the Crow shows the method as it might appear in actual use with a class of small pupils. It should be remembered, however, that no two teachers will ask the same questions and that no two pupils will answer them in the same manner. Bring out the thoughts and keep the pupils interested while it is being done. Rapid, clear-cut questions which do not suggest the answer are the kind to use. Whenever there is hesitation or doubt, refer to the story. The story, \Aus the pupil's imagination and reason, must give the answers. If other facts are needed, the teacher should supply them or show where they may be learned.

A. The Plot.

Teacher. What was the first thing that happened in this little story ?

Pupil. The Fox saw a Crow fly off with a piece of cheese in its mouth.

T. What next?

P. The Crow lit on a branch of a tree.

T. Next?

P. The Fox made up his mind to get the cheese.

T. What did he do then?

P. He walked to the foot of the tree.

T. What next did he do?

P. He flattered the Crow and asked her to sing.

T. What did the Crow do?

P. She cawed and dropped the cheese.

T. What did the Fox do?

P. He snapped up the cheese and ran off.

T. Did he do anything more?

P. Yes. He gave the Crow some advice.

T. Now tell me the storjr in as few words as possible.

P. A Fox saw a Crow with some cheese in her mouth. He flattered her and asked her to sing. When she cawed she dropped the cheese and the Fox ran away with it.

B. The Persons.

Teacher. Can a Fox talk, or a Crow sing?

Pupil. No.

T. Do they seem like persons in this storv?

P. Yes.

T. Let us think of them as persons for a few minutes and see what kind of people they are.

We will talk about the Fox, first. What do you think he looked like ?

P. Like a saucy little dog with bright eyes, a long sharp nose, and a bushy tail.

T. When he said, "That's for me," what did you learn about him?

P. That he was hungry ; that he was greedy ; that he meant to get the cheese.

T. When he began to flatter the Crow, what did you think of him?

P. That he was sharp ; that he was trying to fool the Crow.

T. What did you think of him when he said that her voice was finer than the voices of the other birds, just as her coat was?

P. He was really flattering. Before, he was telling some truth, for her feathers were glossy and her eyes were bright.

T. Did he really think she could sing?

P. No. He knew she could only caw. He was lying, then.

T. What did he say after she had dropped the cheese ?

P. "That was all I wanted."

T. And then?

P. "Do not trust flatterers."

T. Did the Fox mean it?

P. Yes. But he was plaguing her, sneering at her. He wasn't really sincere.

T. Now tell me what you've learned about the Fox.

P. He was a lively animal that looked like a dog, with a long nose and bushy tail. He was smart, wise, knew how to flatter and get what he wanted. But he was a liar and a mean fellow all around.

T. Now, let us study the Crow. What did she look like?

P. She was a big black bird with glossy feathers and a bright eye. She had a big black bill and black wings.

T. Did she have a good voice for singing?

No. She could only say "Caw, caw, caw," in a hoarse, croaking voice.

T. Where was she ?

P. On the limb of a tree.

T. Could the Fox reach her?

P. No. She was safe.

T. What did she think of herself ?

P. She thought she was pretty and smart and could sing.

T. What would you say of her manners ?

P. She was proud and conceited and foolish, silly.

T. Now, tell me what you have learned of the Crow.

P. She was a big black bird with glossy feathers and a bright eye. She thought she could sing, but she was silly and proud and conceited. She was too easily fooled by the lies and flattery of the fox.

C. The Scene.

Teacher. Where were the Fox and the Crow ?

Pupil. Outdoors, somewhere.

T. Were they near a house ?

P. I think so, because the Crow had cheese in her mouth.

T. Was it a prairie country?

P. Perhaps, but there was one tree near.

T. Was it day, or night?

P. Daytime, I think. Crows do not hunt at night, but foxes do.

T. Tell me all you know or can guess about the place where the bird and fox were.

P. I think they were on the edge of the woods, not very far away from a farmhouse. One tree stood out by itself, and the Crow flew from the farmhouse to the lone tree.

D. The Author's Purpose and the Lesson.

Teacher. This is an old, old story, and it has been told in many languages. We cannot be sure who first wrote it. But what do you suppose the writer meant the story to accomplish?

Pupil. He meant it to teach a good lesson, I think.

T. What is the lesson?

P. That foxes are tricky animals ; that crows are silly birds; that flattery and lying are bad; that it is foolish to trust anyone who flatters you.

T. Does that mean you do not trust people who praise you ?

P. Oh, no. Praise is all right. Everybody likes to be praised.

T. What is the difference between praise and flattery?

P. When a person praises you he tells the truth, and tells it because he likes you, and wants to help you ; but when he flatters you, he lies and deceives you, and does it to fool you, because he wants you to do something for him, or to get something you have.

T. How can we tell whether we are being praised or flattered?

P. We must be sharp and know ourselves and what we really can do. Then we will know whether others are speaking the truth about us.

E. The Author s Method and Style. Teacher. What do you call a story like this? Pupil. A fable.

T. Why is it a fable?

P. Because it's short; because animals talk and act like human beings; because it teaches a good lesson.

T. Do you call this story "slow" ?

P. No. It's a quick, lively one.

T. What do you think makes it so ?

P. There are not too many words; the Fox and the Crow are interesting; there is a lot of talking; we can see the Fox and the Crow; they act like human beings.

T. Are there any good sentences you would like to remember?

P. Yes: "Do not trust flatterers."

F. The Emotions.

Teacher. How did the Fox feel when he saw the Crow with the cheese in her mouth?

Pupil. He was hungry ; he wanted the cheese ; he made up his mind to get it.

T. How did he feel when he was flattering the Crow?

P. He felt jolly; he thought it was fun to fool the Crow.

T. How did he feel when he got the cheese?

P. He was pleased; he was happy; he did not pity the Crow ; he laughed at the Crow when he gave her advice.

T. How did the Crow feel when she flew off with the cheese ?

P. She was happy.

T. How did she feel while the Fox was flattering her?

P. She was proud and vain and felt sure she could sing.

T. When she dropped the cheese?

P. She was disappointed; she was sorry she had tried to sing; she knew she had been fooled, and was ashamed.

T. Did she like the advice the Fox gave her?

P. No, but she thought it was good advice.

T. Do you think the Fox could fool her again?

G. Conclusion.

Teacher. Now, read the fable all through just as well as you can. (It is read.) Now, Harry, you be the Fox, and read just what he says. Clara, be the Crow, and read just what she says. Tom may be the story teller, and read just the descriptions. Now, watch your parts so there will be no delay, and try to speak just as though j^ou are really what you are representing. Tom may read the first paragraph, and the fourth, but may omit entirely those words that are not spoken in the other paragraphs. Begin, Tom.

Beth Gelert

(Volume III, page 81)

Narrative poems are only stories in the form of verse, and should be studied first as though they were stories only. The following outline contains questions only, such questions as a teacher might ask of pupils studying the poem, or such as might be asked after the poem has been read aloud. To carry this on with the language class, the teacher has only to require a written report on the poem after it has been read and the questions have been answered.

A. The Plot. What was Llewelyn about to do? Whom did he want to accompany him? Did the dog go? Was the hunt successful? Why? Who met Llewelyn on his return? What was the dog's condition? What did the hunter suspect? What frightened Llewelyn as he neared the chamber ? What did he find when he entered the chamber? What did he think? What did he do? What did he find after he had killed the dog? Tell the story in as few words as possible — in one brief sentence if you can.

B. The Persons. Who is the chief character in the story? Who next interests you? What other characters are there ?

1. Llewelyn. What can you say about Llewelyn's appearance? What kind of a man was he? How do you know? Does his character change in the poem? Would you call him a good man? Why? Was he too hasty?

2. Beth Gelert. What kind of a dog was he ?

What was his appearance? Why did he not go to hunt? Was he a brave dog? What other characteristics can you name? What makes you think they are characteristics of Beth Gelert ?

C. The Scene. Where do the first incidents of the story take place? Where do the most important events happen? What is a castle? What can you tell about this castle? Where was the baby? What furniture do you know was in the room? How did the room look when Llewelyn came in?

D. The Author s Purpose and the Lesson. Why do you suppose this poem was written? Is it a good story? Do you think it is worth while to write or read a story like this? What is there worth remembering in the story? Do you think Gelert an admirable dog, and does the story tend to make you think more of dogs, to be kinder to them?

E. The Author's Method and Style. Do you think this is a recently written story? Does it sound like the poems that you find in the newspapers and magazines today? What is a poem written in this style called ? ( Ballad. ) Can you think of other ballads? (Look in the Index of Volume X, under the title Ballad. ) Do you like this kind of poem? Is it vigorous, lively, and strong, or is it weak and silly ?

F. The Emotions. What did Llewelyn feel when Gelert did not appear for the hunt? How did he feel when he started homeward? What did he feel when he saw blood on the hound? What did he feel when he saw blood in the bedroom? What was his state of mind when he killed the dog? How did he feel when he heard his boy's voice? What were his feelings when he thought of the slain dog?

What feeling did Gelert have for the boy? Why did the dog stay at home? What were his feelings when he saw the wolf? What were his feelings when he killed the wolf ? What w r ere his feelings when he saw his master returning? What did he feel when he saw his master's hand raised to strike?

How were you affected by each of the incidents ?

The Passing of Arthur (Volume V, page 417)

There is an outline for the study of this beautiful poem on page 405 of Volume X. While the outline differs in form from those we have been using, it is a helpful variation, and shows that while a narrative poem must be studied first in the same manner as a story, there are still other points that need careful examination.

Including these studies of stories, it is well to remark even at the expense of repetition that every teacher must expect to adapt every method to herself first and then to her school. No one can lay down exact rules for the work of another. Again, the method has been exhibited sufficiently so that it can be applied to any of the stories in Journeys, or in a school reader, or to the reading of a novel, a drama, or any narrative.

II. CLOSE READING

In the purely literary style of reading which we have been discussing we may have seemed to slight some phases of the study. Reading is the instrument by which a person gets information; it is the instrument by which a child makes his greatest advancement in language, in arithmetic, in history, in geography — in fact, in every subject he pursues. Study is reading and thinking. The child who reads understandingly is the child who makes progress in all his studies. While the reading of stories is profitable only when undertaken for the purpose previously described, it is evident that closer work frequently is necessary. There are many times when every word must be understood, every phrase comprehended, every sentence mastered, every paragraph weighed and judged. For lack of a better term we have called such work "Close reading"; it is really study in its most comprehensive form.

For this close and severe work it is not well to choose the finest literary masterpieces, because the very labor necessary may cause dislike of the thing studied. Many a fine selection has been made distasteful to children by the wearisome care with which it has been read. Study good things in this manner, but leave the beautiful things, the inspiring things for other treatment. Take, frequently, problems in arithmetic; have them read, studied, and analyzed; then outline the processes of solution, but do not solve them. Take passages from the history, the geography, the grammar, and work over them till every jot of meaning is extracted.

Read, in this connection, wha*t is said in Journeys,, Volume X, page 375. Some things are worked out there. Other examples for school room work are given below.

Industry and Sloth (Volume I, page 313)

To bring out the thought in this selection, study it as follows :

Ask one of your pupils who can write well to put the selection on the blackboard before the class is called. In the recitation bring out the thought by such questions as the following : What is the meaning of jocosely? (Humorously, flippantly.) What is a court? (A place where disputes between persons are settled by a judge, or by a judge and jury.) What is a jury? (A company of men, usually six or twelve, who hear the evidence and decide on the facts.) What are cases? (The dispute or disagreement is called a case, when it is brought to court to be decided or settled.) What are damsels? (Young girls.) What were the names of the young damsels the young man said he saw? Why do the words "Industry" and "Sloth" begin with capital letters? (Because they are the names of girls.) Were they real girls? What does industry mean? (Work.) What does sloth mean? (Laziness.) Were these real girls? Then what does this mean? (The young man thinks of fondness for work and fondness for idleness as though they were girls.) When we write of qualities, or feelings, as though they were human beings, the words become proper nouns and we begin them with capital letters. Do you know what we call this process of lifting some thing that is lower to the level of human beings? No? We call it personification. Here industry and sloth are personified and made the equals of human beings. What is the word? Try to remember it. Some time I will ask you to define it. What does entreats mean? (Begs.) What does persuades mean? (That means teazes or begs.)