A handbook for English teachers, for use in the Texas high schools

Front matter

A HANDBOOK

FOR

ENGLISH TEACHERS

Introduction To The First Year's Work

(a) In Writing: Correctness in spelling, punctuation, sentence making; practice in paragraph-writing, in letter-writing; neatness; habits of punctuality in the preparation and presentation of themes.

(b) 771 Speaking and in Reading: Distinct enunciation; proper pronunciation, position, emphasis; voice culture through practice in reading aloud; interest; intelligent reading; increased correctness in writing and in speaking as a result of reading.

CLASS WORK

(a) In the Eerrick and Damon: For convenience, the work of the text is outlined in periods of three months each (see page 7 of this Manual). In each division of three months, attention should first be given to the Herrick and Damon. After students have weU in mind the principles of the text, they should apply these principles (both orally and in writing) to composition subjects of local interest, to some of the exercises suggested in the text, and to composition subjects based upon the classics read. Appropriate passages may be selected from the readings as illustrations of the principles of the text.

(b) In Composition: Compositions should frequently be written during the regular recitation period. This will be a good test of the students' ability to think rapidly and accurately — to organize and develop material under pressure, — which cultivates spontaneity. It may be well, at times, for the teacher to give a certain amount of assistance in these compositions. Most compositions to be written during the recitation period should be based upon subject matter with which the students are familiar.

GENERAL SUGGESTIONS

(a) Subject: An effort should be made, during the first week, to arouse an interest in the subject of English; to bring the pupils to realize, even for practical purposes, the advantages of correct English over incorrect English — the practical use of clear and forceful English in school life, in the social world, in business, and in the professions.

"The merchant needs to know how to write clear, forceful letters, how to make clear contracts, and how to explain in a convincing, interesting way the merits of his goods. Traveling salesmen need to know the principles of argumentation. In the commercial club, upon the council, and upon the school board, for example, the citizen needs to know how to use his mother tongue with good effect. The engineer needs to know how to explain his proposition for city waterworks or an interurban railway. The lawyer needs to know how to weigh and value evidence, and how to address a jury. The teacher of any subject needs to set a good example, and he, as well as all other business and professional men, should know how to write a good letter, which may secure him a better position. The doctor has need of effective expression when he comes to explain his ideas to the public upon a measure for the protection of public health. Socially, in all public and private relations, the young woman, the business man, and the professional man should be cultivated, interesting talkers."

English teachers should be thoroughly acquainted with the varied activities of student life, with the different forms of athletics, with the industrial life of the town, with bits of scenery good for descriptive subjects, with local stories of interest, and they should draw upon these frequently for subjects in composition. All composition work should be begun from the standpoint of the pupil, both in the subjects selected for composition and in the methods of treating them. The fundamental principles of the text should be reviewed constantly, through an application of them to the subjects for composition. This method will bring out the practical value of these principles and at the same time vitalize them as no mere memorizing of them can do.

(b) Composition Work: The composition work may be very profitably begun by an informal discussion upon some topic of local interest. The teacher should acquaint himself with a few appropriate subjects before he meets his class. The discussion of a few subjects of this character will enable the teacher to get the pupils' viewpoint, to understand the character of their thinking, and their ability to think. Such discussions often assist in bridging over the distance which sometimes exists between pupil and teacher. The exchange of ideas upon a subject of common interest, upon a subject about which the pupils already have thoughts and feelings and in which the teacher has interested himself for a purpose, is like the meeting of old friends.

Just as soon as these friendly relations between teacher and pupils have been established, pupils may be asked to suggest subjects of their own thinking. The possibilities of these subjects should be discussed in class, unC their weak and strong points indicated and commented upon.

After students realize that their everyday experiences contain good material for composition subjects, a list of the subjects previously discussed in the class should be placed upon the blackboard, and the class required to write a one-page composition based upon any one of these topics. In these first compositions emphasis should be placed upon the pupil's ability to think, to organize and develop his material. The teacher should take up the first set of compositions, go over each one carefully, make a note of the kind and degree of each pupil's ability, also of the fundamental errors to vrhich each pupil is inclined. I'he teacher is then in a position to proceed in his work without the loss of time, and he can more wisely direct the pupils along the lines of their several inclinations and abilities. The knowledge gained in this preliminary step will suggest to the teacher that he should encourage here, stimulate there, and, in the case of a few students, suppress wrong tendencies and correct erroneous ideas. Mechanical errors should be treated systematically, but incidentally only. It is well for the teacher to be on the lookout at all times for errors in spelling and punctuation and grammar, but he should direct his energies in theme criticisms mainly to matters which the class is discussing at the time. Cold, unsympathetic criticism will increase a natural dislike for writing. Eed ink should be used sparingly, unless carelessness or slovenliness is evident, — never when the student is putting forth his best efforts. Composition should be a constructive and not a destructive process.

At this stage, student compositions should be written upon the blackboard frequently, and a common-sense discussion of them by the class, with an occasional suggestion from the teacher, should be entered into freely and frankly. These discussions, under proper guidance, will develop the student's judgment and cultivate his taste. And though students should be given credit for suggestions indicating thought, they should not be permitted to squander time by wandering too far from the subject in hand.

(c) Outside Beading: Pupils should carry on reading in the school library or at home throughout the year. They will be given freedom to enjoy what they read, but they will be held responsible for reports, either written or oral, regularly. The teacher will give out the list of supplementary reading the first day and explain that pupils will be required to read two books from "a," one book from " b, " and one book from " e," as outlined on page 7 of this Manual. In the first week, he should try to awaken an interest in the readings. To do this, he may explain the general nature of the classics in the assignment and tell the class what books he himself has enjoyed and what particular details interested him. He may give the class some idea of what to look for in each book.

The reports on the outside reading may be oral, written themes, or special reports kept in a notebook. (The teacher will be interested in A Blank Book with Suggestive Headings for Reading Reports, by B. A. Heydrick. — Scott, Foresman and Company.) The teacher may call for this written work on a portion of* the book at any time. The pupil makes the report to fix the readings more firmly in mind, and to let the teacher know that he is reading in the right way. Some reports may be dramatizations of parts of books, some worked out according to a scheme prepared by the teacher whose purpose is to get the pupils to look for the right things. The following is suggested as a pattern which the teacher may adapt to his uses and to the various kinds of books which pupils read:

(1) Learn the story thoroughly. Select several of the best thoughts or truths in the book, and express them in your own language.

(2) Who is the author of the book? (A short paragraph of well selected biography is desired.)

(3) When did he write this book and under what circumstances?

(4) Put into one paragraph answers to the following questions: Did you like the book? Why? Were you interested more in the story, or in the characters? If in the story, what were its good points? Its weak points? With what characters did you sympathize most? Why? Were you satisfied with the outcome of the story? If not, in what way would you change it? What is the main theme of the book? Does the author stick to this theme? If not, at what points does he digress? What part of the book ajjpealed to you most? In what way? Are there any dramatic situations in the book? What makes them dramatic? Has the book a moral? How were you affected by the book as a whole — uplifted, or depressed? In what ways? What new thoughts did you get from the book?

' ' Dramatization of the literature studied is one of the most successful of all devices for vitalizing the work of the English class." Most teachers of English are inexperienced in this work, and therefore hesitate to undertake it in any form. However, the importance of this work, and its growing use in the schools, should interest every teacher of English to prepare himself to undertake this work, at least on a small scale. Dramatization, by Sarah E. Simons and Clem Irwin Orr, published by Scott, Foresman and Company, gives valuable suggestions on the ' ' purpose and method ' ' of this work, also the dramatization of many standard English classics.

FIRST YEAR BY WEEKS

FIRST THREE MONTHS

(FIRST MONTH)

FIRST WEEK

Specific Aim: Motivating the subject and arousing an interest in the work. Give the first week to the following points :

(a) Outlining and explaining the readings for the year (see page 7 of this Manual).

(b) -Vrousing an interest in the subject of English (see pages 11, 12).

(c) Completing Chapters I. and II. of the Herrick and Damon,

The teacher should be definite in his lesson assignments. It may be well to suggest in advance the main points to which the student is to give attention. The teacher should insist upon the importance of having all the work done promptly, neatly, and well.

Questions and Suggestions on Chapters I. and II. of the Text

How do you account for the difference in the selections on page 18 of the text? Is this difference due to the convictions of the writer with respect to his subject? to the subject itself? or to the method of handling it? Which passage is most effective in the suggestiveness of the words used? Point out particular instances of this effectiveness and try to account for it. Are there any phrases or sentences in either selection which could be omitted? Any which could be Improved upon by reconstructing them, or by changing their position?

Is the subject-matter of the theme on page 26 interesting? Is the interest general or local? To whom would a subject of this nature appeal most? Mention some of the things that aid in making a subject interesting. (Human life in danger — any human interest, selfish or unselfish, involved ; some purely artistic pleasure — a beautiful bit of scenery ; some sport in which competition Is strong — boating, bathing, a ball game.) Mention two subjects in which the interest may be selfish ; two in which the interest is unselfish.

What is the nature of the narrator's interest in the theme, page 26? What gives the touches of nature an added interest? What is the state of the narrator's feeling? What is suggested as to his experience in the sport? Is his behavior natural? Is the language used by the guide true to his station?

SECOND WEEK

Specific Aim: To awaken pupils to the necessity of personal knowledge and experiences in themes, and to arouse in them a desire to increase their knowledge and experience, and to emphasize and fix (through compositions, oral and written) the principles of the text.

Recitations

Text, Chapter III,

Written Work

Have pupils suggest topics of local interest. Discuss their appropriateness. Indicate their possibilities. Place a list of the most desirable subjects upon the blackboard. For Friday of this week a composition of 300 words or more, based upon one of these subjects, is due. On Friday have a few compositions written upon the blackboard for a class discussion, others read in the class and discussed. The remaining composition should be taken up.

Home Readings, Treasure Island. This book should be read through rapidly, and finished by the end of the third week. A detailed study of this book will be made during the second month.

Monday: An informal oral discussion of topics of local interest, topics with which the pupils are more or less familiar. "The writer's interest in his subject is fundamental." Pupils naturally are interested in the life about them. The approach to composition through their own experiences is less formal, is the natural method of approach, and will tend to take away some of the "terrors" of composition writing. The pupils will soon come to realize that many of their everyday experiences, occurrences in the life about them, are worth while for composition subjects.

A Suggestive List of Subjects

A Vacation Trip to , Camping on the River, Marketing Elberta

Peaches, The Round Up, A Visit to Ranch, Learning to Run an Automobile, Irrigation in the Valley, The Value of Moving Picture Shows, A

Sugar Refinery, Shipping at Galveston, A Rice Plantation, A Lumbering Camp, Breaking a Broncho, The Exports of Texas, The Imports, Some Local Legend, A Bit of Description in Nature, Some Interesting Building, Park.

For the first year most of the work in composition should be confined to narrative and descriptive subjects. The class discussions of these subjects will give the pupils an idea of what will be expected in their compositions due on Friday of this week.

Tuesday: A study of the text, pages 34-41. Pupils should understand thoroughly the main points of the text before they attempt to write compositions upon subjects involving a use of these principles.

Further Discussion of Theme Subjects 1. Subjects from our own experience.

Students should be encouraged to keep a pocket notebook, to make entries of things they see and experience, to think them over, and to practice telling them before they begin to write about them. In general, there are two classes of compositions : (a) compositions of fact, (b) compositions of imagination. In the first class we stick more or less closely to the actual ; in the latter, we add touches of our own. Compositions of "fact" should be based, for the most part, upon subjects of local interest. It is for this reason that every teacher can best assist his own class in selecting the most appropriate subjects for composition.

2. Subjects taken from our studies.

(a) Geography. The following is merely a suggestive outline for a composition on "A Trip Down the Nile." We may suppose that the two branches of

the Nile ( ) are cousins. Each is preparing to go on a long journey —

perhaps never to return. The rising in Lake bids the lilies, etc.,

good-bye ; the rising in the Hills takes its farewell of (things

about its source). Soon after these streams meet, they begin to talk (the noise

made by the river flowing over the Desert) of their childhood home and

what they saw on their way to the place of meeting. At length they grow weary of conversation (they are now flowing over the level plains of Egypt, and are interested in what they see — state some of these things — on the banks

of the ) Finally, they reach the Sea, and there they bid each

other good-bye forever.

Plan a trip down the Hudson, the Rhine, the Amazon, the Ganges. Read some of the "Famous Rides" in the flrst part of the Elson Reader, Eighth Grade, and then plan similar stories of your own imagination. Vary the narrator — a schoolboy to his companion, a teacher to his class, etc. Write a command from Washington to one of his subordinates; a conversation between Washington and Lafayette.

Note : Most subjects under number "2" should be so stated that pupils will be compelled to use their imagination or their reason — not subjects that allow too free use of the facts of the selection upon which they are based.

3. Subjects from our reading.

Students should be encouraged to make lists of subjects based upon their home readings. Such lists will assist the teacher in ascertaining the viewpoint of the different pupils, and at the same time enable him to see what in the different books appeals to different pupils. Pupils should make free use of such magazines as the following, Harper's, The Century, etc., also some standard daily newspaper, some good scientific magazine, and some good magazine on current events. Such source material will often serve as a model and at the same time suggest material for original compositions.

' Suggested Notes on Text Discussion

Make a list of five good narrative subjects suggested by the life about you. What local characters might you introduce? What would you have them do or say? What bits of scenery in your community would be appropriate for a background ?

Note : It is usually best to begin Narration with the working out of a composition confined to one simple incident. The next step would be to write a series of connected incidents. In all stories for the first year, the characters should be few, the plot simple, and the descriptions short.

Special attention should be given to paragraph 10, page 40, of the text. Knowledge of a subject always precedes interest in a subject. For this reason the writer should first of all inform himself about a subject. He should have strong feelings and deep convictions before he begins to write.

Wednesday: An application of the principles of the text learned on Tuesday to some of the Exercises of the text, pages 43-46. A part of the recitation period might be given to an oral discussion of a few of the exercises ; the rest of the recitation period should be given to a class discussion of compositions

18 TRA.CHERS' MANUAL

based upon some of the exercises of the text. A few of the compositions should be read in the class ; others should be placed on the blackboard for a class discussion. Good feeling should be the dominant note in all criticisms and discussions. (See page 12 of this Manual.) The teacher should try to get each pupil to take a critical interest in his own theme. By this time he may be in a position to suggest to different pupils what composition subjects will suit them best. The following exercises of the text are suggested : III., IV., VIII., IX., page 44 ; X., page 4o ; XI., page 46. All compositions that are not read in the class or placed upon the board for a class discussion should be taken up at the close of the recitation. This will impress upon the pupils that each one will be held directly responsible for every day's recitation. If the teacher's time justifies giving personal attention to all of the compositions, it may be well to have them all taken up at the close of the recitation. But it is never well to take up compositions and have the pupil hear no more of them. Review the questions on pages 41-43 of the text.

Thursday: Subjects from Readings discussed — books for parallel readings, magazine articles read, newspaper clippings, etc. Some attempt may be made to classify the subjects discussed, as narrative, descriptive, expository, or argumentative. The purposes of this recitation are as follows: (a) to encourage pupils to be alert in quest of good subjects, (b) to develop in them a desire and an interest in self-expression, (c) to ascertain early in the work whether the pupils are giving the outside reading the proper attention — are finding the vital things in the books, have the right attitude toward literature. This recitation will, also, impress upon the pupils that their outside reading is an important part of their work, and that they will be held responsible for it all along throughout the year. Pupils should have ready for this recitation a written list of titles ; the teacher may call for this list to be read, and then ask other members of the class to suggest the most appropriate titles. Some attention should be given to the proper phrasing of these titles. Pupils will not always find the best things in the books, but they should be given credit for all good thinking done. Inasmuch as all pupils will not be reading the same book, it may be well to confine this recitation to Treasure Island. This would not exclude the subjects based upon magazine articles and newspaper clippings.

Friday: Give the time of this recitation to the following :

.(a) Have a few of the themes due on this date road by different members of the class. Others placed upon the blackboard for a class discussion. An attempt might be made to classify a few of the themes (see pages 38-39 of the text), but most attention should be given to a discussion of how well the material has been organized and developed. Hearing these compositions read will encourage or stimulate pupils to do as well as their classmates. These compositions will, also, be for the teacher the first information as to how well the pupils have learned the principles previously emphasized in the class.

(b) A theme is to be written in the class and criticized in the class. This theme should not occupy more than one page, and not more than one-half of the recitation period should be given to it. The title should be submitted after the class is through discussing and reading the themes under "a," and should be from the exercises of the text previously discussed in the class, or from some topic of local interest previously discussed in the class. Perfect attention to all class discussions is necessary to the highest efficiency in the work. If pupils know that a composition is likely to be called for, dealing with some subject which has been treated in the class, they will give better attention during the recitation, and will perliaps bave a good deal of such material already organized.

At the close of the recitation both sets of compositions should be taken up by the teacher.

THIRD WEEK

Specific Aim: Appreciation of the possibilities of a given subject; learning how to limit, or narrow, a subject selected ; understanding of the characteristics of a good title.

Recitations and Written Work

Monday: Text, Chapter IV. Students should continue to outline the main points of the text.

Tuesday and Wednesday: An application of the principles learned on Monday to some of the Exercises of the text, pages 52-58. See the Summary on page 51, also the Review on pages 53-54.

Thursday: A theme is to be written during the recitation period. The subject for this theme should be assigned after the class meets, but it should be based upon some one of the exercises discussed on Tuesday and Wednesday.

Friday: A theme of 300 words or more, based upon Exercise XL, page 46, of the text, is due. The recitation period may be given to having a few of the compositions read and discussed, also to a general review of the main points of the text, Chapters III. and IV.

Home Readings

By this time the teacher may begin referring to descriptive passages of persons, places, buildings, etc., good incidents, etc., in the different books that are being read by the class. This will keep up interest in the outside readings. The teacher should have a list of the books that are being read by each pupil.

General Suggestions (Chapter IV. of Text)

1. Examining a subject to discover Its possibilities. A few illustrative examples :

I. Description. Let us suppose that we are to write an advertisement for "A Lost Horse." The first consideration here, as in all descriptions, is the "purpose" of the description. It is evidently a question of "identity." Now, what elements enter into such a description? (a) A general description of the horse's size, color, etc., (b) those "peculiarities" that distinguish this horse from all other horses.

The student is given, for a composition subject, the describing of some important building In the town or community. How shall he go about it? (a) What is the purpose of the description — to produce a favorable or an unfavorable impression? (b) What position shall the writer select in order to be able to see the details that will produce the desired impression? The writer's situation is similar to that of a photographer who wishes a picture of the building : the photographer walks around the building, camera In hand, and finally selects that point which will give the best picture for his purpose. The camera will include only those details that fall within its range ; the writer must tell only what he can see. The camera will include all of the details ; the eye, supported by selective judgment, must include only the salient features best suited to produce the desired impression, and leave the imagination to fill in all of the minor details.

II. Narration. A cook and her mistress have a quarrel over some burnt bread. Is this a good subject for a composition? This incident would more than likely be a "character incident," and the interest will center about what the characters say and how they say it. The spirit of the incident should be kept true to (a) the natural difference of positions of the characters, (b) the peculiarities of character.

Note : In all narratives for this year select only a few characteristic incidents, and make these worth while. Do not comment upon the happenings. Let what the characters do and say be self-explanatory. Include nothing that is not vital in the chain of cause and effect.

2. Questions of size and definitcncss : A question should be specific rather than general, concrete rather than abstract ; it should be so narrowed as to suit the al)ility, knowledge, and purpose of the writer. All classroom compositions require the strictest limitations.

In Stevenson's Treasure Island, Chapter XXX., we have this heading : "On Parole." The student cannot tell in a two-page theme all that Stevenson has given us, but he may be able to give us somewhat of a definite idea of "Jim's High Regard of Honor."

FOURTH WEEK

S^peciflc Aim: To emphasize the importance of planning work beforehand, to learn the best methods of developing descriptive and narrative subjects, the most appropriate beginnings and endings for descriptive and narrative subjects, the best us°s to be made of details and dialogue.

Recitations Monday: Text, Chapter V. Compositions.

Suggested Qdestions

Give three reasons why it is necessary to have a plan before beginning to write. Apply these principles to life. What kind of house could a carpenter build without a plan? Give reasons why it is necessary to put a plan into writing. A good outline bears, in a way, the same relation to the finished composition that a "blue print" bears to the finished house. Give reasons why there should be some natural or logical order for the position of the different points of an outline. Give some difficulties that may arise through a failure to observe this order?

Developing a Narrative Subject

Suppose that we have this outline, taken from Hawthorne's American Note- Book: "A rich man leaves by will his mansion and estate to a poor couple. They remove into it and find there a darksome servant whom they are forbidden by the will to turn away. He becomes a torment to them ; and, in the finale, he turns out to be the former master of the estate."

Questions : How shall this couple receive information of their good fortune — by a letter, or by a lawyer who waits upon them? At what season of the year? At what hour of the day or night? What short incident would you use to emphasize their condition? What characteristics would you have them possess? Indicate the effect of the message upon them. How shall we get them from the cottage to the mansion ? Should much space be given to this?

What characteristics shall the servant have? What kind of man would be likely to make this sort of will? What is the purpose of the story? Is the rich man looking for some one who will care for him in his last days, and seeking this means of testing character? Or is he proud of his estate, and wants some one who will take good care of it and keep it intact? In your narrative, are these poor people to disappoint his expectations, or to fulfill them? How many and what incidents shall you select to develop the story? How much dialogue would you use?