Chapter 1
_DE LA SALLE SERIES_
FIFTH READER
(REVISED EDITION, 1922)
BY THE BROTHERS OF THE CHRISTIAN SCHOOLS, ST. JOSEPH'S NORMAL INSTITUTE, POCANTICO HILLS, N.Y. LA SALLE INSTITUTE, GLENCOE, MO.
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CONTENTS
_2_ PREFACE
_3_ INTRODUCTION
_4_ SUGGESTIONS
_5_ GUIDE TO PRONUNCIATION
_6_ DEFINITIONS
_7_ HYMN TO ST. LA SALLE. _Mercedes_
_8_ COLUMBUS AT THE CONVENT. _J.T. Trowbridge_
_9_ THE LITTLE FERN. _Mara L. Pratt_
_10_ HELPING MOTHER.
_11_ A CONTENTED WORKMAN.
_12_ TWO LABORERS. _Thomas Carlyle_
_13_ THE GRUMBLING PUSS.
_14_ THE BROOK SONG. _James Whitcomb Riley_
_15_ THE STORY OF THE SEED-DOWN. _Rydingsvard_
_16_ THE USE OF FLOWERS. _Mary Howitt_
_17_ PIERRE'S LITTLE SONG.
_18_ SEPTEMBER. _Helen Hunt Jackson_
_19_ "MY OLD KENTUCKY HOME." _Mrs. T.A. Sherrard_
_20_ THE FIRST MIRACLE OF JESUS.
_21_ MY BEADS. _Father Ryan_
_22_ THE HARP THAT ONCE THROUGH TARA'S HALLS. _Thomas Moore_
_23_ A LITTLE LADY. _Louisa M. Alcott_
_24_ WHAT HOUSE TO LIKE. _Anon._
_25_ A SONG OF DUTY. _Denis A. McCarthy_
_26_ AN EVENING WITH THE ANGELS.
_27_ MY GUARDIAN ANGEL. _Cardinal Newman_
_28_ LITTLE BELL. _Thomas Westwood_
_29_ A MODEST WIT. _Selleck Osborne_
_30_ WOODMAN, SPARE THAT TREE. _George P. Morris_
_31_ THE BOSTON TEA PARTY.
_32_ THE OLD OAKEN BUCKET. _Samuel Woodworth_
_33_ THE BOY AND THE CRICKETS. _Pierre J. Hetzel_
_34_ OUR HEROES. _Phoebe Cary_
_35_ THE MINNOWS WITH SILVER TAILS. _Jean Ingelow_
_36_ THE BROOK. _Tennyson_
_37_ LEARNING TO THINK.
_38_ ONE BY ONE. _Adelaide A. Procter_
_39_ THE BIRCH CANOE. _Longfellow_
_40_ PETER OF CORTONA.
_41_ To MY DOG BLANCO. _J.G. Holland_
_42_ A STORY OF A MONK.
_43_ THE SERMON OF ST. FRANCIS. _Longfellow_
_44_ GLORIA IN EXCELSIS. _Father Ryan_
_45_ THE FIRST CHRISTMAS TREE. _Eugene Field_
_46_ THE HOLY CITY.
_47_ THE FEAST OF TONGUES. _Aesop_
_48_ THE NIGHTINGALE AND THE GLOWWORM. _William Cowper_
_49_ JACK FROST. _Hannah F. Gould_
_50_ "GOING! GOING! GONE!" _Helen Hunt Jackson_
_51_ SEVEN TIMES TWO. _Jean Ingelow_
_52_ MY MOTHER'S GRAVE.
_53_ THE OLD ARM-CHAIR. _Eliza Cook_
_54_ BREAK, BREAK, BREAK! _Tennyson_
_55_ GOD IS OUR FATHER.
_56_ HAPPY OLD AGE. _Robert Southey_
_57_ KIND WORDS. _Father Faber_
_58_ KINDNESS IS THE WORD. _John Boyle O'Reilly_
_59_ DAFFODILS. _William Wordsworth_
_60_ THE STORY OF TARCISIUS. _Cardinal Wiseman_
_61_ LEGEND OF THE WAXEN CIBORIUM. _Eleanor C. Donnelly_
_62_ LITTLE DAFFY-DOWN-DILLY. _Nathaniel Hawthorne_
_63_ IN SCHOOL DAYS _Whittier_
_64_ THE SUN'S FAMILY
_65_ WILL AND I _Paul H. Hayne_
_66_ CHRISTMAS DINNER AT THE CRATCHITS'. _Charles Dickens_
_67_ WHICH SHALL IT BE? _Anon_
_68_ ST. DOROTHY, MARTYR.
_69_ TO A BUTTERFLY. _William Wordsworth_
_70_ THE PEN AND THE INKSTAND. _Hans Christian Andersen_
_71_ THE WIND AND THE MOON. _George MacDonald_
_72_ ST. PHILIP NERI AND THE YOUTH.
_73_ THE WATER LILY. _Jean Ingelow_
_74_ A BUILDER'S LESSON. _John Boyle O'Reilly_
_75_ WASHINGTON AND HIS MOTHER.
_76_ WASHINGTON'S BIRTHDAY. _Margaret E. Sangster_
_77_ THE SWORD OF BUNKER HILL. _William R. Wallace_
_78_ THE MARTYR'S BOY. _Cardinal Wiseman_
_79_ THE ANGEL'S STORY. _Adelaide A. Procter_
_80_ GLUCK'S VISITOR. _John Ruskin_
_81_ A VISIT FROM ST. NICHOLAS. _Clement C. Moore_
_82_ COMMODORE JOHN BARRY.
_83_ THE BOY OF THE HOUSE. _Jean Blewett_
_84_ BIOGRAPHIES
(Transcriber's Note: Although "ABOU BEN ADHEM AND THE ANGEL. _Leigh Hunt_" and "A SIMPLE RECIPE. _James Whitcomb Riley_" were originally shown in the list above, neither work appears in the text.)
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_2_
PREFACE
The object of the Christian Brothers in issuing a new series of Readers is to place in the hands of the teachers and pupils of our Catholic schools a set of books embodying the matter and methods best suited to their needs. The matter has been written or chosen with a view to interest and instruct, to cultivate a taste for the best literature, to build up a strong moral character and to imbue our children with an intelligent love of Faith and Country. The methods are those approved by the most experienced and progressive teachers of reading in Europe and America.
These Readers have also been specially designed to elicit thought and facilitate literary composition. In furtherance of this idea, class talks, word study, the structure of sentences, drills on certain correct forms of expression, the proper arrangement of ideas, explanation of phrases and literary expressions, oral and written reproductions of narrations and descriptions, and exercises in original composition, all receive the attention which their importance demands. Thus will the pupils, while learning to read and from their earliest years, acquire that readiness in grasping the thoughts of others and that fluency in expressing their own, which are so essential to a good English education.
In teaching the art of Reading as well as that of Composition, the principle of order should in a great measure determine the value of the methods to be employed. In the acquisition of knowledge, the child instinctively follows the order of nature. This order is first, _observation_; second, _thought_; third, _expression_. It becomes the duty of the teacher, consequently, to lead the child to observe _accurately_, to think _clearly_, and to express his thoughts _correctly_. And text-books are useful only in so far as they supply the teacher with the material and the system best calculated to accomplish such results.
It is therefore hoped that the present new series of Readers, having been planned in accordance with the principle just enunciated, will prove a valuable adjunct in our Catholic schools.
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_3_
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.
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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._