The first [- ] reader

Front matter

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Preface

PERHAPS the most important book that falls into the hands of a child is his School Reader. Its manifold themes tend to open various channels of thought ; its style of expression impresses itself jpon the pupil's mind, and has an influence to mold his forms of speech and writing; the compositions themselves are stored in his memory to recur a thousand times in after life, — the more dear for being associated with the cherished scenes of childhood ; and, most of all. the sentiments inculcated become inevitably a part of his moral consciousness. His rules of life, his springs of action in times which test his integrity or try his virtue, are in very many instances traceable to the seed which took root in his heart from the lessons in his School Reader.

But these or any other desirable ends to be derived from such a book imply, of course, that its selections shall be of the right stamp. Not alone muse they inculcate wholesome truths, but they must do this in a genial, attractive way. We must interest the pupil in order to benefit him. A pitiful martyrdom is endured by teachers and scholars where weary hours are spent in endeavoring to make children comprehend abstractions fit only for the mind of a Bacon, or to urge them through intricacies of style which might bewilder a Johnson. If " wisdom's ways are ways of pleasantness." as we surely believe, that cannot be the wisest course which proves irksome and repulsive.

With these convictions, the endeavor has been made to compile a book which should, first of all, be pure and ennobling in its moral influence ; and next, one which should be both profitable and enjoyable.

An elaborate theoretical treatise, with set rules for reading, might have been included in the Introduction, but long experience and observation have convinced the compiler that such things are of little practical value in the school-room, and are generally unused by the most successful teachers. No number of abstract definitions, no amount of mere theory, ever changed a poor reader to a good one.

vi PKEFACE.

Plain common sense is, after all, the best guide. Whatever aids the pupil to understand a piece will help him to read it. ' Thought and emotion compel expression ; rules too often fetter it. Three things <3an be done by the teacher with advantage : give the pupils practical exercises to increase their command of voice ; talk with them in a vvay to inspire them with the spirit of what they read ; give them a <?ood example. The selections in the Introduction, as well as in the body of the book, are intended to be available for these purposes.

Several of the pieces for reading have been written expressly for this book, and are protected by copyright. Thanks are due the various authors and publishers by whose kind permission extracts from, their books have been used. We are especially indebted to Messrs. James R. Osgood & Co. for liberty to use selections from their copyright editions of the works of Whittier, Longfellow, Hawthorne, Trowbridge, Aldrich, and Saxe.

L. B. M.

Boston, June 1, 1871.

NOTE TO TEACHERS.

In making use of the "Exercises" in connection with the reading lessons, it is not expected that the pupils will always be able to supply exact synonyms. The purpose is rather to lead the pupil to think about what he reads, and to exercise his ingenuity in framing different forms of expression for the idea which exists in his own mind.

These exercises may be indefinitely extended at the discretion of the teacher. Thus: the teacher reads a sentence and repeats the word whose sense he wishes the pupil to give. Teacher. " ' Hew down the bridge,' — Heio." Pupil "Cut down the bridge." Another. "Chop down the bridge," etc. The pupil is required in every instance to use his equivalent words in a complete sentence, — not simply to repeat a formal definition.

Contents

P A E T I .

PHYSICAL AND VOCAL TRAINING-.

art. Page

I

in.

IV.

i/ VI.

— VIII.

XII.

XIV.

XVI.

XVIII.

XXII.

XXIV.

XXVI.

XXVIII.

XXX.

XXXII.

XXXIV.

XXXVI.

XXXVIII.

XL.

, XLII.

v XLVI.

XLVIII.

L.

LII.

LIV.

LVI.

LVIII.

LX.

LXII.

LXIV.

LXVI.

LXVIII.

LXX.

LXXII.

LXXIV.

LXXVI.

lXXVIII.

LXXX.

LXXXII.

LXXXIV.

LXXXVI.

LXXXVIII.

PROSE.

The Fish I did n't catch . . . . J. G Whittier . 37

Stoning the Frogs Jacob Abbott . . 40

Stoning the Frogs. Part Second . . Jacob Abbott . . 44

The Truth Speaker Miss Crompton . 48

Sir Walter Raleigh and his two Plants 53

The Capture of Quebec S. G. Goodrich . 63

Haying II. W. Beecher . 67

The Boston Massacre N. Hawthorne . . 71

Mr Hunt after the Baby .... Helen L. Boslwick 75

The Scotch Woman and her two Sons 85

Once well done, Twice done . . . L. A. B. Curtis . 88

Adventure with a Whale 92

Malibran and the Young Musician 95

Rehearsing for Christmas . . . . L. M. Alcott . . 100 The Farmer and the Fox . . . . J. A. Fronde . . 104 Eloquence of Patrick Henry ... W. Wirt . . . 107

Art and Artists 110

The Practical Joker Theodore Hook . 114

Ladd and his Neighbor 117

Capture of Ticonderoga Bancroft . . . 120

The Persian and his Tiikee Sons 126

The Brook Krilof . . .

Using the Eyes Samuel Smiles

A Gigantic Iceberg ....... E. H Dana .

The American Indian diaries Sprague

The Cruise of the Dolphin . . . T. B. Aldrich

The Town Pump N. Hawthorne

The Tea Rose H B. Stowe .

The Unknown Painter

Boys' Country Amusements. . . . A. R. Hope

Earning Enjoyment Fanny Fern .

The Heroine of Edinburgh 165

How the Giant was caught . . . T. S. Arthur . . 169 Squire Bull and Brother Jonathan J. K. Paulding . 174 Intelligence of the Elephant . . T. TV. Higginson 178 Androcles and the Lion .... Thomas Day . . 184

The Earth's Journey round the Sun 189

Tom Brown starting for Rugby . T. Hughes . . . 192

Health 198

The Champion Speller Warren Burton . 201

Buttercups and Daisies 206

A Revolutionary Hero in the Pulpit Samuel Burnham 213

CONTENTS.

IX

XC.

XCII.

XCIV.

k XCVI.

XCVIII.

c.

CII.

/civ.

cvr.

cviii.

y ex.

CXIII.

cxv.

cxvn.

cxix.

cxxn.

cxxiv.

CXXVIII.

exxx.

II. V

VII.

IX.

XI.

XIII.

XV.

XVII.

XIX.

XXI.

XXIII.

XXV.

XXVII.

XXIX.

XXXI.

XXXIII.

XXXV.

XXXVII.

XXXIX.

XLI.

XLIII.

XLV.

XLVII.

XLIX.

LV.

LVII.

The Battle of Lexington Bancroft , . 219

An Object Lesson Charles Dickens . 223

The Bobolink W. Irving ... 228

The Emperor's New Clothes . . . Hans Ch. Andersen 233

Return of British Fugitives, 1782 . Patrick Htnry 238

The Cricket on the Hearth . . . Charles Dickens . 243

Birds 250

Heroism of a Miner Thomas Carlyle . 253

A Man Overboard J. T. Headley . 262

First Grenadier of France 267

Death of Little Paul Charles Dickens . 275

The Bell of Liberty J. T. Headley . . 280

A Search after Happiness .... Joseph C. Neal . 285

Morning Visits Dr. Nares ... 292

The Irish Disturbance Bill .... Daniel 0" Connell 298 The Fate of European Kings . . . Thomas F. Meagher 302

An Appeal to Arms Patrick Henry . 307

" Press on." 312

POETRY,

The Fly and the Leaflet 39

The Day is Done H. W. Longfellow 47

Come and go R. S. Sharpe . . 52

Hiawatha's Hunting II. IV. Longfellow 55

The Milkmaid Jeffreys Taylor . 61

The Chameleon Merrick ... 64

Bring back my Flowers 70

Song from the Suds L. M Alcolt . . 74

The Fishermen J. G Whittier . 79

Some murmur when their Sky is clear Dean Trench . . 84

Short Extracts in Verse 87

The Swallow and her Nest. . . . R. S. S. Andros . 91

Nothing lost 94

The Charcoal-Man J. T. Trowbridge 98

The Giant Charles Mackay . 103

The Voice and Pen D. F. McCarthy . 106

The Discovery of America . . . . J. T. Trowbridge 109

War Song James G. Percival 113

George Nidiver 115

The Burial of Moses C. T. Alexander . 118

A Bird's Nest Florence Percy . 121

The Glove and the Lions Leigh Hunt . .- 124

The Miller of the Dee Chaises Mnckay . 128

The Retort 130

Fidelity W. Wordsworth . 139

Farmer John J. T Trowbridge 146

X CONTENTS.

LIX. The Birthday of Spring Horace Smith . . 149

LXI. The Archery of William Tell . W. Baine ... 154

LXIII. An April Day . . . 158

LXV The Moss Rose Krummacher . . 162

LXV1I. Warren's Address John Pierpont . . 164

LXIX. The Old Year and the New . . . A. Tennyson . . 168

LXXI. The Lark and the Nightingale . . Coleridge ... 173

LXXIII. No Work the Hardest Work ... C. F. Orne . .177

LXXV. Bluebeard J, G. Holland . . 180

LXXVII. Solomon and the Bees J. G. Saxe ... 187

LXXXI. The Knight's Toast 196

LXXXYv Cheers and Tears R. H. Newell . . 204

LXXXVII. The Streamlet J. T. Tiowbridge 209

LXXXIX. Nothing to wear W, A. Butler . . 218

XCV. Marco Bozzaris F. G. Halkck . . 231

XCVII. Birds and Bees H. Hurdis ... 237

CI. The Keeping of the Bridge ... T. B. Macaulay . 246

CIJI. Giye me the People ...... Charles Sicain . 253

CV. Glad Chimes B. P. Shillaber . 254

CVII The Battle of Bunker Hill . . . F. S. Cozzem . . 259

CIX. Douglas and Marmion Walter Scott . . 265

CXI. The Sunbeam Mrs, Hemans . . 271

CXI I Home Happiness John Clare . . 273

CXIV. Edinburgh after Flodden .... W. E . Aytoun . . 277

CXV1II. Barbara Frietchie J. G. Whittier . 290

CXX. The Hunteks Matthew Arnold 295

CXX1. Life without Freedom T. Moore . . . 297

CXXIII King Canute IV. M. Thackeray 300

CXX VI Claribel M. L. Pavmelee . 305

CXX VII. Morning Sounds ........ James Beattie . 306

CXXIX. The Gray Swan Alice Cary ... 310

DIALOGUES AND CONCERT-READINGS.

X. In Want of a Place . . . . . . G. W. Curtis . . 58

XX. The King and the Miller of Mansfield Dodsley .... 81

XLIV. The Return of Columbus .... Vinet .... 123

LI. Fitz-James and Eoderick Dhu . . Walter Scott . . 133

LIU. Hymn of the Mountaineers . . . Mrs. Hemans. . 136

LX. The Tea-Eose H. B. Stoive . . 151

LXXXIII. Clear the Way Charles Mackay 200

XCI. David and Goliath Hannah More ■ 221

XCIII. The Life-Boat 226

XCIX. The Watcher on the Tower . . . Charles Mackay . 241

PART

" Deem it not trifling while I recommend

What posture suits : to stand and sit by turns, As nature prompts, is best ; but o'er your leaves To lean, for ever cramps the vital parts, And robs the fine machinery of its play."

Armstrong.

Physical mdVocal Tbaining.

POSITION AND CARRIAGE OF THE BODY.

IN reading aloud, the bodily attitude is the first thing that requires attention. When a pupil stands up to read, we may judge beforehand what will be the character of his performance by the position assumed. The timid posture, with bent spine and contracted chest, will be accompanied by a feeble drawl : and the awkward, indifferent attitude will precede a hard, unsympathetic tone of voice, or mumbling utterance ; while from one who takes an attitude of dignity and self-respect we may look for that honest and earnest effort ' which insures progress and improvement. The pupil should therefore secure a good position as a habit whenever he is using his voice.

All the muscles used in producing voice must act with ease and elasticity ; and this comes from the right kind of practice or exercise. No one will do his best who, through laziness, negligence, or ignorance, allows the vocal machinery to become enfeebled and ineffective. In fact, the influence of physical conditions extends even to the mental and moral habit. We shall therefore have more vivacious, intelligent, and expressive reading where proper care is taken with regard to the management of the body.

A few moments at every session should be devoted to drill in the physical and vocal exercises. They are not all required in any one lesson, but a judicious use of them at proper intervals will greatly improve the carriage of the body, expand the chest, and give freedom to the voice.

The drill should always be carried on in a cheerful and

THE FIFTH READER.

buoyant spirit. It must never be allowed to- degenerate into a dull and lifeless routine.

See that the air of the school-room is pure before taking up any exercise. Neither teacher nor pupils can work to advantage in a vitiated atmosphere.

In conducting the drill, give but one command at a time ; and NEVER GIVE A second till the first is obeyed.

I. Sitting Position.

1. Rest the feet fully on the floor, forming an angle of sixty degrees.

2. Sit (not lean) as far back in the seat as possible ; supporting the lower part of the spine against the back of the chair.

3. Knees bent nearly at a right angle.

4. Body square to the front.

5. Chest expanded.

G. Hands fall easily in the

lap, little fingers downward.

7. Shoulders square.

8. Shoulder-blades flat.

9. Head erect ; not tipped in either direction.

10. Chin slightly drawn in.

11. Raise the form to the fall height.

12. Poise the body slightly forward.

13. Eyes straight to the front.

14. Ear, shoulder, and hip in line.

These particulars should be taught carefully, one at a time. After they are once learned, it is sufficient for the teacher to give simply the words of command, which should be obeyed with military promptness.

This position should be frequently practiced as an exercise ; but pupils should be required to remain in it only a few minutes at a time. The younger the scholars, the oftener should they be allowed to change their position.

Words of command : Ready ! — Position !

SITTING POSITION.

POSITION AND CARRIAGE OF THE BODY.

POISE FORWARD AND BACK

II. Poise forward and back.

First Incline slowly forward thirty degrees, or till touching the desk in front, — without drooping the head or bending the spine.

Second. Steadily return to position.

Third. Incline the body steadily backward thirty degrees, or as far as the back of the chair will admit, without bending the neck or back.

Fourth. Slowly return to position.

The teacher may regulate the exercise by counting in exact ^ time four to each movement.

This exercise is designed to accustom the pupil to incline the body forward or backward without contracting the chest, — thus allowing the breathing and vocal organs freedom of action.

Words of command : Poise forward ! — Position ! — Backward ) — Position.

III. Position of Rest.

Easily relax ftie muscles and lean against the back of the chair.

In conducting physical exercises, whenever the teacher's attention is diverted from the class as a whole, to give instruction to individuals, or for any other purpose, the class should be directed to "rest." This position is also that of passive attention.

Any other posture which is graceful and favorable to health may be substituted for this. But awkward or unheal thful attitudes should not be permitted in the school-room.

Word of command : Rest I

POSITION OP REST

THE FIFTH READER.

POSITION OF ATTENTION

IV. Position of Attention.

Poise the body slightly forward, and rest the fore-arms lightly on the desk, supporting the book with both hands. Incline the book backward about thirty degrees.

In case the pupils have no desks, the book is held as in the " Reading Position," with one or both hands at intervals.

Frequent opportunities for rest must be allowed when there is no support for the arms.

This position is required in concert-reading when practiced with the pupils seated ; and it is the posture of attention for the class daring the reading of the teacher, and of single pupils. Words of command : Take the books ! — Attention !

V. Standing Position.

1. Heels in a line, and together.

2. Feet turned equally outward, forming an angle of sixty degrees.

3. Knees straight.

4. Body square to the front.

5. Chest expanded and advanced, but without constraint.

6. Arms hang easily at the side.

7. Shoulders equal height.

8. Shoulder-blades flat.

9. Head erect, raised at the crown, not tipped in any direction.

10. Chin slightly drawn in.

11. Form raised to the full height.

12. Body poised slightly forward, so that the weight bears mainly on the ball of the foot.

STANDING POSITION. J 3 Eyeg stra ight tO the froilt

14. Whole figure in such a position that the ear, shoulder, hip, knee, and ankle are all in a line.

POSITION AND CARRIAGE OF THE BODY.

The position as a whole gives the impression of graceful ease combined with firmness and self-respect.

Many individuals are unable to fulfill all these conditions in their first efforts. They must perseveringly practice day by day, in connection with the exercises given subsequently, until they have overcome the difficulties.

Xo pains should be spared to get this position exactly ; and the pupil should be required to observe its main points whenever he stands to read or recite, in order to establish as a habit an erect and dignified carriage of the body.

Weak children need to be particularly cautioned against stooping the shoulders, contracting the chest, making the back too hollow, and drooping the head.

Words of command : Prepare to stand !

— Stand ! — Position !

STANDING POSITION. — FRONT VIEW.

VI. Poise forward and backward.

First. Carry the weight of the body as far forward as possible, without lifting the heels or bending the spine. The ankle joint yields, but the other joints remain inflexible.

Second. Return steadily to position.

Third. Carry the weight of the body as far back as possible, so as to bear mainly on the heels, but without lifting the toes. Spine and joints inflexible.

Fourth. Return steadily to position.

Four counts to each movement.

This strengthens the muscles which sustain the body in a standing position, and gives firmness upon the feet.

.Words of command : Poise forward !

— Position i — Backward ! — Position !

POISE FORWARD AND BACKWARD

THE FIFTH READER.

VII. Holding the Book for reading.

READER'S POSITION.

Hold the book open in the left hand, with three fingers beneath it, and the thumb and little finger above, to keep the leaf down.

Advance the elbow a few inches, and raise the fore-arm from thirty to forty-five degrees, so as to secure perfect vision without bending the neck or body.

If necessary, depress the plane of the book so as not to hide the face.

The eye must be trained to catch the words in advance of the utterance ; so that the reader can look off the book occasionally. Looking down too much upon the page causes the voice to be directed to the book, instead of being sent out into the room.

VIII. Speaker's Position.

Throw the weight of the body firmly on the left foot, and advance the right foot about three inches, allowing it to rest lightly, with the knee a little bent.

Reverse this position by throwing the weight on the right foot, and leaving the left easily advanced.

A line dropped through the front of the neck will fall on the instep of the supporting foot. A line drawn lengthwise through the center of the advanced foot passes through the heel of the other. r_i. Words of command : Speaker's

position, weight on the right

foot ! — On the left !

speaker's position.

DEVELOPMENT OF THE CHEST.

II.

DEVELOPMENT OF THE CHEST.

I. Active and Passive Chest.

STANDING position.

First. Relax the muscles and allow the chest to fall listlessly, as if fatigued. This is the passive chest.

Second. Elevate and expand the chest in a position of dignity and self-reliance, somewhat as if defying a blow. This is the active chest.

This exercise should be simply muscular, and not depend upon the breathing.

The habit should be established of keeping, without constraint, the active chest in standing, walking, running, and whenever using the voice, — as in reading, declaiming, and ■singing.

Words of command : Chest — passive ! — Active !

ACTIVE CHEST.

II. Percussion of the Chest.

Place the hands on the chest with the forefingers just below the collar-bones, fore-arms horizontal. Take a deep inspiration through the nostrils. Hold the breath.

First. Strike on the chest rapid percussive blows with the flat of the fingers ; the wrists slack. Time, four counts.

Second. Give out the breath through the nostrils, — two counts. Inhale a deep breath, — two counts. Repeat from first.

Percussion may also be practiced upon other parts of the chest. This has effect in expanding the lungs, forcing the air into cells imperfectly filled in ordinary breathing.

PERCUSSION OF THE CHEST.

THE FIFTH READER.

The blows must be light and gentle for the first few weeks of practice ; and may be gradually increased in force, but must never be rigid and jarring.

Words of command : Hands upon the chest — place! — Full breath ! — Percussion ! — One, two, three, four. (Repeat.)

III. Chest Expansion.

Elbows sharply bent and close to the side ; fore-arm horizontal ; fists clenched palms upward. Take a deep inspiration. Hold the breath.

First. Extend the arms full length forward, relaxing the muscles and opening the hands, palms downward.

Second. Bring the arms energetically back to their former position, endeavoring to expand the chest as much as possible.

Third. Expel the breath through the nostrils, — two counts ; take a fresh inspiration, — two . counts ; and repeat from first movement.

Words of command : Arms bent at the side — place ! — Full breath ! — One, two, etc.

CHEST EXPANSION.

PERCUSSION WITH ARM MOVE- MENTS.

IV. Percussion with Arm Movements.

The hands fall easily at the side. Take a full breath.

First. Swing the arms from the shoulder alternately, with slack joints, giving elastic blows upon the lungs, striking with the flat of the fingers just below the collar-bone. The right hand strikes upon the left lung, and the left hand upon the right lung. Give two blows with each hand.

Second. Exhale and inhale the breath as in the preceding exercises.

Words of command : With arm movements! — Full breath! — One, two, etc.

DEVELOPMENT OF THE CHEST.

V. Shoulder Movements. — Bent Arms.

Clenched fists at the side of the shoulders, palms forward, fore-arms vertical.

First. Bring the open hands, palms inward, so as to touch each othex about three inches in front of the chin.

Second. Throw the fore-arms back to the side as in the commencing position, fists clenched, palms outward. — Repeat.

Third. Change the breath.

Words of command : Fore-arms vertical — place ! — One, two, eta

VI. Breathing with Arm Movements.

First. Bring the tips of the fingers to the shoulders, inhaling the breath through the nostrils at the same time.

Second, Strike downward and forward, clenching the fists with palms front, and expelling the breath through the nostrils with the movement.

The breath must be expelled by the action of the diaphragm and its auxiliary muscles of the waist and abdomen. This will naturally be the case if the pupil makes a decisive motion of the arms and clenches the fists.

Words of command : Touch the

SHOULDERS PLACE ! BREATHE !

SHOULDER MOVEMENTS.

BREATHING WITH ARM MOVEMENTS

(Six times.)

VII. Deep Breathing.

First Inhale a deep breath slowly and tranquilly through the nostrils, taking care not to raise the shoulders.

Second. Give out the breath tranquilly through the nostrils, holding the chest expanded with easy firmness.

Words of command : Ixhale ! — Expel ! (Repeat.)

III. Right Use Of The Voice

THE sentences in the last part of this chapter are given as exercises to be spoken with the tone of pleasant conversation ; and this implies speaking to some one, not merely reciting the words. The pupil should look at the person addressed with a cheerful expression of countenance. Any contraction of the brows or distressed expression of the face is almost sure to be accompanied by a bad tone of voice.

The teacher may speak the sentences first, to be imitated ; or any pupil who has a sweet intonation and natural sprightliness of manner may give the examples. Minor faults of articulation are to be disregarded in this exercise.

Such practice is not to be abandoned until every boy and girl speaks habitually in pleasant, conversational tones. And the work is not finally completed until the customary tone in reading and recitation is that of intelligence and refinement. Good taste in speech is as much called for in the school-room as in the pulpit or parlor ; and indeed more, for it is here that the habits are formed which stamp and influence all the future career.

Great pains may be bestowed upon a reading-lesson ; if the pupils are allowed to drift back into faulty habits the moment any other recitation is taken up, the work is in a great measure lost.

But it is not the voice alone that suffers. The humdrum style of reading tends to stultify the intelligence. The habit of calling words monotonously, without attaching any meaning to them, retards or renders next to impossible progress in the various studies. Take arithmetic, for example. The pupil should be required to state his question with intelligent expression. It will be time gained to him as a mathematician. Suppose him about to try a problem which he reads in a high-pitched, hard, unvarying, stumbling manner, like this (as far as it can be suggested to the eye) : —

RIGHT USE OF THE VOICE. 23

ime'tarnously — Two - lo-c'moti ves - starts - I'm - famously — • one at - Butt-lo — the oth'rat — Alb'ny — three - hun' twent' - five miles - part — " Is it not a waste of time for him to proceed further till he has learned to read, or till he does read

INTELLIGENTLY 1

And so in other studies, the amount of thought exercised may be determined by the quality of voice used.

Sweet tones are the natural clothing of fresh and beautiful ideas. The conversational quality of voice is the basis of all excellence in reading. What is known as the "school-tone" should be banished at once and forever from the school-room.

I. Conversational Tones.

1. Good morning! — How do you do? — Very well, I thank you, — how do you do?

It is a pleasant day. — Yes, very pleasant. — Do you think it will rain to-day? — Well, no; I think we shall have sunshine all day. — I hope we shall, for I wish to take a walk.

2. "O, see those humming-birds! "-— " Where are they? Ah! I see one now; it is the ruby-throat. See how his throat glitters !" — " Shall we try to catch it?" — "No, I would rather look at it."

3. Just see! this is a slender pea-vine! It is now shooting out its green leaves. Soon we shall have a garden.

n. Question and Answer.

1. A boy who had forty cents gave away ten cents; how many cents had he remaining ? — Ten cents from forty cents leaves thirty cents ; therefore he had thirty cents remaining.

2. What ocean lies east of the United States? — The Atlantic Ocean.

3. When and by whom was America discovered? — By Christopher Columbus, in the year 1492.

4. In the sentence " John reads naturally," which is the subject and which is the predicate? — "John" is the subject, and " reads naturally " is the predicate.

III. Familiar Narrative.

1. When I was a young man, I went upon a whaling voyage, I will tell you how whales are caught.

2. Whenever Jane saw a tuft of moss, she said, " Please, dear moss, may I take you?" And when she saw a beautiful branch with scarlet leaves, she said, "Dear bush, may I take these leaves % "

3. The kettle began it ! Don't tell me what Mrs. Peerybingle said. I know better. Mrs. Peerybingle may leave it on record till the end of time, that she could n't say which of them began it ; but I say the kettle did. I ought to know, I hope.

IV. Vivacious Style of Poetry.

1. Cheerily, then, my little man, Live and laugh, as boyhood can.

2. the Spring, the bountiful Spring !

She.shineth and smileth on everything.

3. Ho, ho ! ha, ha ! the merry fire !

It sputters and it crackles !

Snap, snap ! flash, flash ! old oak and ash Send out a million sparkles.

IV. Articulation

ARTICULATION is effected by the action of the lips, tongue, palate, and jaws. In order that articulation may be perfect, there must be a prompt, neat, and easy action of these organs. When they move feebly or clumsily, the articulation is indistinct or mumbling. An elastic play of the muscles of the mouth is necessary, not only for distinctness of utterance, but for the expressiveness of the face.