Chapter III: Introduction

In this Fifth Reader of the De La Salle Series the plan of the preceding numbers has been continued. The pupil has now mastered the mechanical difficulties of learning to read, and has acquired a fairly good working vocabulary. Hence he is prepared to read intelligently and with some degree of fluency and pleasure. Now is the time to lead him to acquire a taste for good reading. The selections have been drawn mainly from authors whose writings are distinguished for their moral and literary value, and whose style is sure to excite a lasting interest.

In addition to giving the pupil practice in reading and forming a basis for oral and written composition work, these selections will raise his ideas of right living, will quicken his imagination, will give him his first knowledge of many things, stimulate his powers of observation, enlarge his vocabulary, and correct and refine his mode of expression. A wholesome reading habit, so important to-day, will thus be easily, pleasantly and unconsciously formed.

The following are some of the features of the book:

GUIDE TO PRONUNCIATION.--This Guide is to be referred to again and again, and the diacritical marks carefully taught. Instruction in the vowel sounds is an excellent drill in articulation, while a knowledge of the diacritical marks enables the pupil to master these sounds for himself when consulting the dictionary.

VARIETY OF MATTER.--In the volume will be found the best sentiments of the best writers. The pupil will find fables, nature studies, tales of travel and adventure, brave deeds from history and fiction, stories of loyalty and heroism, examples of sublime Christian self-sacrifice, and selections that teach industry, contentment, respect for authority, reverence for all things sacred, attachment to home, and fidelity to faith and Country.

LANGUAGE STUDY.--If reading is to hold its proper place in the class room, the teaching of it must not be confined to the mere reading of the text. In its truest sense, reading is far more comprehensive. The teacher will question the pupil on what he has read, point out to him the beauties of thought and language, find out what hold the reading has taken upon his memory, how it has aroused his imagination, assisted his judgment, directed his will, and contributed to his fund of general information. To assist in this most important work is the object aimed at in the matter given for Language Study. Such study will also give fuller powers of interpretation and corresponding appreciation of the selection considered simply as literature.

RECITATIONS.--There are some selections marked for recitation. The public recitation of these extracts will banish awkwardness of manner, beget self-confidence, and lay the foundation for subsequent elocutionary work. Besides, experience teaches that a single poem or address based upon some heroic or historic event, recited before a class or a school, will often do more to build up a noble character and foster a love of history, than a full term of instruction by question and answer.

POETRY.--The numerous poetic selections, some of which are partly analyzed by way of suggestion, will create a love for the highest and purest forms of literature, will broaden the field of knowledge, and emphasize the teachings of some of the prose selections. Many of them have been written by American authors. Every American boy and girl should be acquainted with the works of poets who have done so much for the development of American literature and nationality.

MEMORY GEMS.--"The memorizing of choice bits of prose and poetry enriches the vocabulary of the pupils, adorns their memory, suggests delicate and noble thoughts, and puts them in possession of sentences of the best construction. The recitation of these expressive texts accustoms the children to speak with ease, grace and elegance." ("Elements of Practical Pedagogy.")

BIOGRAPHIES.--Young children enjoy literature for its own sake, and take little interest in the personality of the writer; but as they grow older, pleasure in the work of an author arouses an interest in the writer himself. Brief biographical sketches are given at the close of the volume as helps in the study of the authors from whom selections are drawn, and to induce the pupils to read further.

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_4_

SUGGESTIONS

WORD STUDY.--The pupil should know how to spell and pronounce correctly all the words of the selection he is preparing to read. He should know their ordinary meanings and the special meanings they may have in the text. He should be able to write them correctly from dictation and to use them in sentences of his own. He should examine if they are primitive, derivative, or compound; he should be able to name the prefixes and suffixes and show how the meanings of the original words are modified by their use. He should cultivate the habit of word mastery. What is read will not otherwise be understood. Without it there can be no good reading, speaking or writing.

EXPRESSIVE READING.--There should be constant drill to secure correct pronunciation, distinct articulation, proper emphasis, and an agreeable tone of voice, without which there can be no expressive reading. This is a difficult task, and will take much time, trouble and practice; but it has far-reaching results. It enlarges the sympathy of the pupil and lays the foundation for a genuine love of literature. Do not, then, let the reading lesson drift into a dull and monotonous calling of words. On the contrary, let it be intelligent, spirited, enthusiastic. Emotion comes largely from the imagination. The pupil himself must be taught not only to feel what he reads, but to make its meaning clear to others. It is important that children be taught to acquire thought through the ear.

CONCERT READING.--Reading in concert is generally of little value, and the time given to it ill-spent. It does not aid the children in getting thought, or in expressing it fluently. As an exercise in teaching reading it is ineffective and often positively harmful. A concert recitation to which special training has been given partakes of the nature of a hymn or a song, and then becomes an element of value. If occasionally there must be concert reading in the class room, it should always be preceded by individual mastery of the selection.

POEMS.--In the first lesson, a poem, like a picture, should be presented as a whole, and never dissected. The teacher should first read it through, not stopping for note or comment. He should then read it again, part by part, stopping, for question, explanation and discussion. Lastly, the whole poem, should be read with suitable emotion, so that the final impression may be made by the author's own words. It is important that the pupil get the message which the author intended to give. In teaching a descriptive poem, make the pictures as vivid as possible, and thus awaken the imagination. In dealing with a narrative poem, the sequence of events must first be made clear. When this is done, the aim should be to give fuller meaning to the story by bringing out clearly the causes, motives and results of acts. All this will take time. Be it so. One poem well read, well studied, is worth more than a volume carelessly read over. In reading poetry, be careful that the pupils, while giving the rhythm of the lines, do not fall into the singsong tone so common and so disagreeable.

EXPLANATIONS.--Explanations should accompany every reading lesson, without which there can be no serious teaching of the vernacular. By their means the teacher enters into communication with his pupils; he gets them to speak, he corrects their errors, trains their reason, and forms their taste. It has been said that a teacher able to explain selections in prose and poetry "holds his class in the hollow of his hand." The teacher should insist that the pupil express himself clearly and correctly, not only during the reading lesson, but on every subject he has occasion to deal with, either orally or in writing, throughout the day's recitations.

REVIEWS.--As the memory of children, though prompt, is weak, frequent reviews should be held. They are necessary for the backward pupils and advantageous for the others. Have an informal talk with the children on what they have read, what they have learned, what they have liked, and what has interested them. Some important parts of the prose and poetry previously studied might, during this exercise, be re-read with profit.

COMPOSITION.--Continue oral and written composition. The correct use of written language is best taught by selecting for compositions subject-matter that deeply interests the children. If persevered in, this will secure a good, strong, idiomatic use of English. If the words of a selection that has been studied appear now and then in the children's conversation or writing, it should be a matter for praise; for this means that new words have been added to their vocabulary, and that the children have a new conception of beauty of thought and speech.

See that all written work be done neatly and legibly. Slovenly or careless habits should never be allowed in any written work.

MEMORY GEMS.--Do not lose sight of the memory gems. Familiarize the pupil with them. Their value to the child lies more in future good resulting from them than in present good. These treasures of thought will live in the memory and influence the daily lives of the children who learn them by heart.

THE DICTIONARY.--The use of the dictionary is a necessary part of education. It is a powerful aid in self-education. Its use will double the value of study in connection with reading and language. Every Grammar School, High School and College should be supplied with several copies of a good unabridged dictionary, and every pupil taught how to consult it, and encouraged to do so. The dictionary should be the book of first and last and constant resort.

USE OF THE LIBRARY.--The teacher should endeavor to create an interest in those books from which the selections in the Reader are taken, and in others of equal grade and quality. Encourage the children to take books from the library. Direct them in their choice. Encourage home reading. The reading of good books should be a part of regular school work; otherwise little or no true progress can be made in speaking and writing. The best way to learn to speak and write good English is to read good English.

For additional suggestions as to the best means of teaching Reading and Language, teachers are referred to Chapters II and IV, Part IV, of "Elements of Practical Pedagogy," by the Christian Brothers, and published by the La Salle Bureau of Supplies, 50 Second Street, New York.

* * * * *

Acknowledgments are gratefully made to the following authors, publishers, and owners of copyright, who have courteously granted permission to use the selections which bear their names:

"Mercedes," Miss Eleanor C. Donnelly, Miss Mary Boyle O'Reilly, Miss Kate Putnam Osgood, Miss P.C. Donnelly, Mrs. Margaret E. Sangster, Mr. Denis A. McCarthy, Mr. James Whitcomb Riley, Mr. George Cooper, Mr. J.T. Trowbridge, "Rev. Richard W. Alexander;" University of Notre Dame; The Ladies' Home Journal; Lothrop, Lee & Shepard Co.; The Educational Publishing Co.; Little, Brown & Co.; The Bobbs-Merrill Co.; P.J. Kenedy & Sons; The Hinds & Noble Co.; Charles Scribner's Sons.

The selections from Longfellow, Whittier, Holmes, Hawthorne, Fields, Trowbridge, Phoebe Cary, Charles Dudley Warner, are used by permission of, and by special arrangement with, Houghton, Mifflin & Co., publishers of the works of these authors, and to these gentlemen are tendered expressions of sincere thanks.

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_5_

GUIDE TO PRONUNCIATION

NOTE.--This Guide is given to aid the pupil in the use of the dictionary, and will be found to cover all ordinary cases. In the diacritical marking, as in accentuation and syllabication, Webster's International Dictionary has been taken as authority.

VOWELS

(Transcriber's Note: Equivalent sound shown within round brackets.)

[=a] as in gate--g[=a]te

[^a] as in care--c[^a]re

[)a] as in cat--c[)a]t

[.a] as in ask--[.a]sk

[a.] ([)o]) as in what--wh[a.]t

[:a] as in car--c[:a]r

[a:] as in all--[a:]ll

ai ([^a]) as in air--[^a]ir

ai ([=a]) as in aim--[=a]im

au ([:a]) as in aunt--[:a]unt

[=e] as in eve--[=e]ve

[)e] as in end--[)e]nd

[~e] as in her--h[~e]r

[^e] as in there--th[^e]re

[e=] ([=a]) as in they--th[e=]y

ea ([=e]) as in ear--[=e]ar

ei ([=e]) as in receive--rec[=e]ive

[=i] as in ice--[=i]ce

[)i] as in pin--p[)i]n

[~i] ([~e]) as in bird--b[~i]rd

[:i] ([=e]) as in police--pol[:i]ce

i[e=] ([=e]) as in chief--chi[=e]f

[=o] as in old--[=o]ld

[^o] as in lord--l[^o]rd

[)o] as in not--n[)o]t

[.o] ([)u]) as in son--s[.o]n

[o.] ([u.]) as in wolf--w[o.]lf

[o:] ([=oo]) as in do--d[o:]

oa ([=o]) as in boat--b[=o]at

[=oo] ([o:]) as in moon--m[=oo]n

[)oo] ([o.]) as in foot--f[)oo]t

[=u] as in pure--p[=u]re

[)u] as in cup--c[)u]p

[^u] as in burn--b[^u]rn

[u.] ([o.]) as in full--f[u.]ll

[u:] as in rude--r[u:]de

ew ([=u]) as in new

[=y] ([=i] as in fly--fl[=y]

[)y] ([)i]) as in hymn--h[)y]mn

[~y] ([~e]) as in myrrh--m[~y]rrh

CONSONANTS

c (s) as in cent

c (k) as in cat

ce (sh) as in ocean

ch (k) as in school

ch (sh) as in machine

ci (sh) as in gracious

dg (j) as in edge

ed (d) as in burned

ed (t) as in baked

f (v) as in of

g (hard) as in get

g (j) as in gem

gh (f) as in laugh

n (ng) as in ink

ph (f) as in sulphur

qu (kw) as in queen

s (z) as in has

s (sh) as in sure

s (zh) as in pleasure

ssi (sh) as in passion

si (zh) as in occasion

ti (sh) as in nation

wh (hw) as in when

x (z) as in Xavier

x (ks) as in tax

x (gz) as in exist

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_6_

DEFINITIONS

LANGUAGE is the expression of thought by means of words.

WORDS, with respect to their _origin_, are divided into _primitive_ and _derivative_; and with respect to their _composition_, into _simple_ and _compound_.

A PRIMITIVE word is one that is not derived from another word.

A DERIVATIVE word is one that is formed from another word by means of prefixes or suffixes, or by some other change.

A SIMPLE word is one that consists of a single significant term.

A COMPOUND word is one made up of two or more simple words.

A SENTENCE is a combination of words which make complete sense.

A SYLLABLE is a word or a part of a word pronounced by one effort of the voice.

The DIAERESIS is the mark [..] placed over the second of two adjacent vowels, to denote that they are to be pronounced as distinct letters; as _REËCHO_.

RULES FOR THE USE OF CAPITAL LETTERS

The first word of every SENTENCE should begin with a capital.

PROPER NAMES, and words derived from them, should begin with capitals.

The first word of every LINE OF POETRY should begin with a capital.

All names of God and all titles of the DEITY, as well as all pronouns referring to the Deity, should begin with capitals.

The words I and O should always be capitals.

The first word of a DIRECT QUOTATION should begin with a capital.

The names of the DAYS and of the MONTHS should begin with capitals; but not the names of the seasons.

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_7_

HYMN TO ST. LA SALLE.

Glorious Patron! low before thee
Kneel thy sons, with hearts a-flame!
And our voices blend in music,
Singing praises to thy name.
Saint John Baptist! glorious Patron!
Saint La Salle! we sound thy fame.

Lover of our Queen and Mother,
At her feet didst vow thy heart,
Earth, and all its joys, forsaking,
Thou didst choose the better part.
Saint La Salle, our glorious Father,
Pierce our souls with love's own dart.

Model of the Christian Teacher!
Patron of the Christian youth!
Lead us all to heights of glory,
As we strive in earnest ruth.
Saint La Salle! oh, guard and guide us,
As we spread afar the Truth!

In this life of sin and sorrow,
Saint La Salle, oh, guide our way,
In the hour of dark temptation,
Father! be our spirit's stay!
Take our hand and lead us homeward,
Saint La Salle, to Heaven's bright Day!

_Mercedes._

Founder of the Brothers of the Christian Schools, pointing out the way of salvation to the children of all nations.

"Christian Teachers are the sculptors of living angels, moulding and shaping the souls of youth for heaven." _Most Reverend Archbishop Keane, of Dubuque._

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_8_

due mien fri'ar pri'or Pa'los por'ter con'vent pre'cious grat'i tude

COLUMBUS AT THE CONVENT.

Dreary and brown the night comes down,
Gloomy, without a star.
On Palos town the night comes down;
The day departs with stormy frown;
The sad sea moans afar.

A convent gate is near; 'tis late;
Tin-gling! the bell they ring.
They ring the bell, they ask for bread--
"Just for my child," the father said.
Kind hands the bread will bring.

White was his hair, his mien was fair,
His look was calm and great.
The porter ran and called a friar;
The friar made haste and told the prior;
The prior came to the gate.

He took them in, he gave them food;
The traveler's dreams he heard;
And fast the midnight moments flew.
And fast the good man's wonder grew,
And all his heart was stirred.

The child the while, with soft, sweet smile,
Forgetful of all sorrow,
Lay soundly sleeping in his bed.
The good man kissed him there, and said:
"You leave us not to-morrow!

"I pray you, rest the convent's guest;
This child shall be our own--
A precious care, while you prepare
Your business with the court, and bear
Your message to the throne."

And so his guest he comforted.
O wise, good prior! to you,
Who cheered the stranger's darkest days,
And helped him on his way, what praise
And gratitude are due!

_J.T. Trowbridge._

By permission of the author.

* * * * *

Where is Palos? What is it noted for?

Who was the "good man" spoken of in the poem?

In the line "The traveler's dreams he heard," who was the traveler? Relate the story of his dreams. Why are they called dreams? Did the dreams become facts? In what way?

How did the monks of this convent assist Columbus?

How did the Queen of Spain assist him?

Why is it that in the geography of our country we meet with so many Catholic names?

* * * * *

Memory Gem:

Press on! There's no such word as fail!
Push nobly on! The goal is near!
Ascend the mountain! Breast the gale!
Look upward, onward,--never fear!

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_9_

THE LITTLE FERN.

A great many centuries ago, when the earth was even more beautiful than it is now, there grew in one of the many valleys a dainty little fern leaf. All around the tiny plant were many others, but none of them so graceful and delicate as this one I tell you of. Every day the cheery breezes sought out their playmate, and the merry sunbeams darted in and out, playing hide-and-seek among reeds and rushes; and when the twilight shadows deepened, and the sunbeams had all gone away, the little fern curled itself up for the night with only the dewdrops for company.

So day after day went by: and no one knew of, or found the sweet wild fern, or the beautiful valley it grew in. But--for this was a very long time ago--a great change took place in the earth; and rocks and soil were upturned, and the rivers found new channels to flow in.

Now, when all this happened, the little fern was quite covered up with the soft moist clay, and perhaps you think it might as well never have lived as to have been hidden away where none could see it.

But after all, it was not really lost; for hundreds of years afterwards, when all that clay had become stone, and had broken into many fragments, a very wise and learned man found the bit of rock upon which was all the delicate tracery of the little fern leaf, with outline just as perfect and lovely as when, long, long ago it had swayed to the breezes in its own beautiful valley.

And so wonderful did it seem to the wise man, that he took the fern leaf home with him and placed it in his cabinet where all could admire it; and where, if they were thoughtful and clever enough, they could think out the story for themselves and find the lesson which was hidden away with the fern in the bit of rock.

Lesson! did I say? Well, let's not call it a lesson, but only a truth which it will do every one of us good to remember; and that is, that none of the beauty in this fair world around us, nor anything that is sweet and lovely in our own hearts, and lives, will ever be useless and lost. For, as the little fern leaf lay hidden away for years and years, and yet finally was found by the wise man and given a place with his other rare and precious possessions where it could still, though silently, aid those who looked upon it; so we, as boys and girls, men and women who are to be, can now, day by day, cultivate all lovely traits of character, making ourselves ready to take our place in the world's work. And when that time comes we shall not only be able to aid others silently, as did the little fern, but may also, by word and deed, lend a hand to each and every one around us.

_Mara L. Pratt._

From "Fairyland of Flowers." The Educational Publishing Co.

* * * * *

Break up the following words into their syllables, and place the accent mark where it belongs in each:

outline, tracery, cabinet, delicate, finally, character, hundreds, centuries, remember, beautiful, possessions. Show the correct use of the words in original sentences. The dictionary will help you in the work.

Name some of the traits of character that will help a boy or a girl to be truly successful in life.

* * * * *

Memory Gems:

The child is father of the man;
And I could wish my days to be
Bound each to each by natural piety.

_Wordsworth_.

Truth alone makes life rich and great.

_Emerson_.

There is a tongue in every leaf--
A voice in every rill--
A voice that speaketh everywhere--
In flood and fire, through earth and air,
A tongue that's never still.

_Anon_.

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_10_

blithe whistler mellow replied cheery skylark

HELPING MOTHER.

As I went down the street to-day,
I saw a little lad
Whose face was just the kind of face
To make a person glad.
It was so plump and rosy-cheeked,
So cheerful and so bright,
It made me think of apple-time.
And filled me with delight.

I saw him busy at his work,
While blithe as skylark's song
His merry, mellow whistle rang
The pleasant street along.
"Oh, that's the kind of lad I like!"
I thought as I passed by;
"These busy, cheery, whistling boys
Make grand men by and by."

Just then a playmate came along,
And leaned across the gate--
A plan that promised lots of fun
And frolic to relate.
"The boys are waiting for us now,
So hurry up!" he cried;
My little whistler shook his head,
And "Can't come," he replied.

"Can't come? Why not, I'd like to know?
What hinders?" asked the other.
"Why, don't you see," came the reply,
"I'm busy helping mother?
She's lots to do, and so I like
To help her all I can;
So I've no time for fun just now,"
Said this dear little man.

"I like to hear you talk like that,"
I told the little lad;
"Help mother all you can, and make
Her kind heart light and glad."
It does me good to think of him,
And know that there are others
Who, like this manly little boy,
Take hold and help their mothers.

LANGUAGE WORK:

Describe the little lad spoken of in the poem. Do you know any boy like him?

Tell what this "little man" said to his playmate.

When night came, was the boy sorry that he had missed so much fun? What kind of man did he very likely grow up to be?

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_11_

rid' dle brand'-new mys' ter y un rav' el like' ness es

A CONTENTED WORKMAN.

Once upon a time, Frederick, King of Prussia, surnamed "Old Fritz," took a ride, and saw an old laborer plowing his land by the wayside cheerily singing his song.

"You must be well off, old man," said the king. "Does this land on which you are working so hard belong to you?"

"No, sir," replied the laborer, who knew not that it was the king; "I am not so rich as that; I plow for wages."

"How much do you get a day?" asked the king.

"Two dollars," said the laborer.

"That is not much," replied the king; "can you get along with that?"

"Yes; and have something left."

"How is that?"

The laborer smiled, and said, "Well, if I must tell you, fifty cents are for myself and wife; with fifty I pay my old debts, fifty I lend, and fifty I give away for the Lord's sake."

"That is a mystery which I cannot solve," replied the king.

"Then I will solve it for you," said the laborer. "I have two old parents at home, who kept me when I was weak and needed help; and now, that they are weak and need help, I keep them. This is my debt, towards which I pay fifty cents a day. The third fifty cents, which I lend, I spend for my children, that they may receive Christian instruction. This will come handy to me and my wife when we get old. With the last fifty I maintain two sick sisters. This I give for the Lord's sake."

The king, well pleased with his answer, said, "Bravely spoken, old man. Now I will also give you something to guess. Have you ever seen me before?"

"Never," said the laborer.

"In less than five minutes you shall see me fifty times, and carry in your pocket fifty of my likenesses."

"That is a riddle which I cannot unravel," said the laborer.

"Then I will do it for you," replied the king. Thrusting his hand into his pocket, and counting fifty brand-new gold pieces into his hand, stamped with his royal likeness, he said to the astonished laborer, who knew not what was coming, "The coin is good, for it also comes from our Lord God, and I am his paymaster. I bid you good-day."

* * * * *

Memory Gems:

The working men, whatever their task,
Who carve the stone, or bear the hod,
They wear upon their honest brows
The royal stamp and seal of God;
And worthier are their drops of sweat
Than diamonds in a coronet.

Give fools their gold, and knaves their power;
Let fortune's bubbles rise and fall;
Who sows a field, or trains a flower,
Or plants a tree, is more than all.

_Whittier_.

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_12_

con' script in dis pen' sa ble im' ple ment in de fea' si bly

TWO LABORERS.

Two men I honor, and no third. First, the toil worn craftsman, that with earth-made implement laboriously conquers the earth, and makes her man's. Venerable to me is the hard hand, crooked, coarse, wherein, notwithstanding, lies a cunning virtue, indefeasibly royal, as of the scepter of this planet. Venerable, too, is the rugged face, all weather tanned, besoiled, with its rude intelligence; for it is the face of a man living manlike.

Oh, but the more venerable for thy rudeness, and even because I must pity as well as love thee! Hardly entreated brother! For us was thy back so bent, for us were thy straight limbs and fingers so deformed. Thou wert our conscript on whom the lot fell and, fighting our battles, wert so marred. Yet toil on, toil on; ... thou toilest for the altogether indispensable,--for daily bread.

A second man I honor, and still more highly; him who is seen toiling for the spiritually indispensable; not daily bread, but the bread of life. Is not he, too, in his duty; endeavoring towards inward harmony; revealing this, by act or word, through all his outward endeavors, be they high or low? Highest of all, when his outward and his inward endeavor are one; when we can name him artist; not earthly craftsman only, but inspired thinker, that with heaven-made implement conquers heaven for us!

If the poor and humble toil that we may have food, must not the high and glorious toil for him, in return, that he may have light and guidance, freedom, immortality?--these two, in all their degrees, I honor; all else is chaff and dust, which let the wind blow whither it listeth.

Unspeakably touching it is, however, when I find both dignities united; and he, that must toil outwardly for the lowest of man's wants, is also toiling inwardly for the highest. Sublimer in this world know I nothing than a peasant saint. Such a one will take thee back to Nazareth itself; thou wilt see the splendor of heaven spring forth from the humblest depths of earth like a light shining in great darkness.

_Thomas Carlyle._

* * * * *

Laws are like cobwebs, where the small flies are caught, and the great break through.

_Bacon_.

* * * * *

_13_

gust thief mop' ing awk' ward pet' tish ly in dig' nant un bear' a ble med' dle some en light' ened in quis' i tive

THE GRUMBLING PUSS.

"What's the matter?" said Growler to the gray cat, as she sat moping on the top of the garden wall.

"Matter enough," said the cat, turning her head another way, "Our cook is very fond of talking of hanging me. I wish heartily some one would hang _her_."

"Why, what _is_ the matter?" repeated Growler.

"Hasn't she beaten me, and called me a thief, and threatened to be the death of me?"

"Dear, dear!" said Growler; "pray what has brought it about?"

"Oh, nothing at all; it is her temper. All the servants complain of it. I wonder they haven't hanged her long ago."

"Well, you see," said Growler, "cooks are awkward things to hang; you and I might be managed much more easily."

"Not a drop of milk have I had this day!" said the gray cat; "and such a pain in my side!"

"But what," said Growler, "what is the cause?"

"Haven't I told you?" said the gray cat, pettishly; "it's her temper:--oh, what I have had to suffer from it! Everything she breaks she lays to me; everything that is stolen she lays to me. Really, it is quite unbearable!"

Growler was quite indignant; but, being of a reflective turn, after the first gust of wrath had passed, he asked: "But was there no particular cause this morning?"

"She chose to be very angry because I--I offended her," said the cat.

"How, may I ask?" gently inquired Growler.

"Oh, nothing worth telling,--a mere mistake of mine."

Growler looked at her with such a questioning expression, that she was compelled to say, "I took the wrong thing for my breakfast."

"Oh!" said Growler, much enlightened.

"Why, the fact is," said the gray cat, "I was springing at a mouse, and knocked down a dish, and, not knowing exactly what it was, I smelt it, and it was rather nice, and--"

"You finished it," hinted Growler.

"Well, I believe I should have done so, if that meddlesome cook hadn't come in. As it was, I left the head."

"The head of what?" said Growler.

"How inquisitive you are!" said the gray cat.

"Nay, but I should like to know," said Growler.

"Well, then, of a certain fine fish that was meant for dinner."

"Then," said Growler, "say what you please; but, now that I've heard the whole story, I only wonder she did _not_ hang you."

* * * * *

Fill the following blanks with words that will make complete sentences:

Mary -- here, and Susan and Agnes -- coming. They -- delayed on the road. Mother -- to come with them, but she and father -- obliged to wait till to-morrow.

Puss said to Growler, "I -- not -- a drop of milk to-day, and -- not -- any yesterday."

I -- my work well now. Yesterday I -- it fairly well. To-morrow I shall -- it perfectly.

The boys -- their best, though they -- the game.

John--now the boys he -- last week. He -- not -- them before.

NOTE.--Let two pupils read or recite the conversational parts of this selection, omitting the explanatory matter, while the other pupils simply listen. If done with expressive feeling and in a perfectly natural tone, it will prove quite an interesting exercise. To play or act the story of a selection helps to develop the imagination.

* * * * *

_14_

scared swerve gur' gle rip' ples cur' rent mum' bling ly

THE BROOK SONG.

Little brook! Little brook!
You have such a happy look--
Such a very merry manner, as you swerve and curve and crook--
And your ripples, one and one,
Reach each other's hands and run
Like laughing little children in the sun!

Little brook, sing to me;
Sing about the bumblebee
That tumbled from a lily bell and grumbled mumblingly,
Because he wet the film
Of his wings, and had to swim,
While the water bugs raced round and laughed at him.

Little brook--sing a song
Of a leaf that sailed along
Down the golden-hearted center of your current swift and strong,
And a dragon fly that lit
On the tilting rim of it,
And rode away and wasn't scared a bit.

And sing--how oft in glee
Came a truant boy like me,
Who loved to lean and listen to your lilting melody,
Till the gurgle and refrain
Of your music in his brain
Wrought a happiness as keen to him as pain.

Little brook--laugh and leap!
Do not let the dreamer weep:
Sing him all the songs of summer till he sink in softest sleep;
And then sing soft and low
Through his dreams of long ago--
Sing back to him the rest he used to know!

_James Whitcomb Riley_.

From "Rhymes of Childhood." Used by special permission of the publishers, The Bobbs-Merrill Co. Copyright, 1900.

* * * * *

RIPPLES, little curling waves FILM, a thin skin or slight covering.

CURRENT, the swiftest part of a stream; also applied to _air, electricity_, etc.

What do the following expressions mean: tilting rim, lilting melody, softest sleep, gurgle and refrain, a happiness as keen to him as pain?

What is a lullaby? Recite a stanza of one.

Insert _may_ or _can_ properly where you see a dash in the following: The boy said, "--I leave the room?" "Mother, I--climb the ladder;--I?"--a dog climb a tree?--I ask a favor?

Copy the following words--they are often misspelled: loving, using, till, until, queer, fulfil, speech, muscle, quite, scheme, success, barely, college, villain, salary, visitor, remedy, hurried, forty-four, enemies, twelfth, marriage, immense, exhaust.

By means of the suffixes, _er, est, ness_, form three new words from each of the following words: happy, sleepy, lively, greedy, steady, lovely, gloomy.

Example: From happy,--happier, happiest, happiness. Note the change of _y_ to _i_.

* * * * *

_15_

rag'ged crin'kly rub'bish fil'tered protect'ed disor'derly disturbed' imme'diately

THE STORY OF THE SEED-DOWN.