Chapter 16

FORM IV

JUDAH'S SUPPLICATION TO JOSEPH

(Fourth Reader, page 51)

INTRODUCTION

Review briefly the Scriptural account of Joseph's life, and particularly the story of the visits of his brethren to Egypt to buy corn. Note especially the following points:

1. The famine in the land of Canaan; the first visit of Joseph's brothers to Egypt; their interview with Joseph; the detention of Simeon; Joseph's demand that Benjamin be brought down.

2. The return to Canaan; Jacob's refusal to let Benjamin go down into Egypt; Judah's becoming surety for his safe return.

3. The second visit of Joseph's brethren to Egypt, this time with Benjamin; their entertainment by Joseph; their homeward journey; the discovery of the silver cup in Benjamin's sack; their return to Joseph.

GENERAL ANALYSIS

After the selection has been read, the teacher should proceed by some such method as the following:

With what does the passage deal? Judah's entreaty to Joseph for Benjamin's safe return to his father, and the effect it produced.

Into how many parts is the selection naturally divided? Into three parts, corresponding to the paragraphs as given in the Reader.

What is the principal idea in each part?

1. Joseph's decision to keep the offender as a bondman. (Paragraph I)

2. Judah's supplication to Joseph that Benjamin be permitted to return for his father's sake. (Paragraph II)

3. Joseph's revelation of his identity, and the provision he makes for the maintenance of his kindred. (Paragraph III)

DETAILED ANALYSIS

Paragraph I

Why did Joseph's brethren fall "before him on the ground"? Prostration is the Eastern mode of signifying profound respect, complete submission.

What is the meaning of "divine"? In this sense, to look into the future; to see what is hidden from ordinary people.

Does Joseph claim explicitly to have this ability? No, he merely suggests it, probably to impress them with the idea of his power.

What does Judah mean by "the iniquity of thy servants"? Doubtless he has in mind the wrong that they committed years before, in selling Joseph to the Ishmaelites and deceiving their father. Verses 21 and 22 of the 42nd chapter of Genesis go to show that the consciousness of this sin was ever before them.

What was Judah's attitude toward the accusation brought against them? He frankly confesses the guilt of all--not of Benjamin only.

Why do you think he adopts this attitude, when he must have been sure that all were guiltless? He perhaps believes that they are victims of a conspiracy, the object of which is to place them in the power of this Egyptian governor, and he thinks that this submissive attitude is best calculated to secure mercy at his hands.

How do you account for Joseph's apparent desire to keep Benjamin in Egypt, with himself? Probably he thinks this the best means of inducing his father, Jacob, to come to Egypt. However, he may not really intend to keep Benjamin at all. He may be making the threat only to test Judah. It may be remembered that it was Judah who had counselled the selling of Joseph years before. Joseph may now be trying to see if Judah is the same kind of man he was when the selling into Egypt took place--whether he will sacrifice Benjamin in this extremity as he sacrificed Joseph himself.

If the latter is Joseph's object, how does the experiment succeed? It proves that Judah is a different man, that the years that have elapsed have produced a remarkable change in his character.

Paragraph II

Of what does Judah's entreaty largely consist? Of a recital of the governor's orders and of Jacob's attachment to Benjamin, the son in whom all the thoughts, hopes, and desires of his old age are centred.

Upon what does Judah lay the greatest emphasis? Upon the effect that Benjamin's detention will have upon his father. Evidently the brothers are very anxious to spare their father any unnecessary grief and pain.

For what purpose is the whole speech specially adapted? To stir the emotions. It is suited to appeal to the feelings of anybody, but, particularly, to the feelings of Egypt's governor, though his identity is still unknown.

Which are the most pathetic sentences? The two beginning with, "And we said unto my lord, We have a father, an old man", and "Now, therefore, when I come to thy servant, my father, and the lad be not with us".

What features of the speech would make the strongest appeal to Joseph? The reference to his father's old age and his attachment to Benjamin; his belief in Joseph's untimely end; the blow that separation from Benjamin would involve; Judah's willingness to sacrifice himself.

What light does the speech throw upon Judah's character? It shows a capacity for intense feeling, a deep devotion to his father, and a spirit of self-sacrifice. It might indicate also a shrewd knowledge of human nature, for he apparently knows how to present the case in the most effective manner.

What is the meaning of "thou art even as Pharaoh"? Thou art as mighty as the king of Egypt.

Explain "thy servant became surety for the lad unto my father". Judah had given Jacob a guarantee that Benjamin should return safely.

Select any figurative expression and give its meaning. "Thy servants shall bring down the gray hairs of thy servant our father with sorrow to the grave." The blow which separation from Benjamin would involve will cause the aged father to die of a broken heart.

What are the main characteristics of the supplication? The language is simple and direct, the feeling is of the loftiest character, and the whole speech is highly eloquent. If the test of true eloquence is the intensity of the appeal it makes to worthy emotions, this passage may well be regarded as one of the most eloquent in all literature.

Paragraph III

Did Joseph purposely select this as the most fitting moment to reveal himself? No. He revealed himself because he could not help it and because Judah's appeal had so worked upon his feelings. The first sentence of the paragraph indicates this.

Why did he send every man away except his brothers? He did not wish others to see his own lack of self-control or his brothers' shame and embarrassment. Moreover, it was a solemn situation, too sacred for vulgar eyes to gaze upon.

We are told that he "wept aloud", that "he fell upon his brother Benjamin's neck, and wept", that "he kissed all his brethren", etc. Is he unduly demonstrative? Eastern people are much more emotional and demonstrative than Western people.

Why did he have to repeat his assurance that he was Joseph? The first announcement was so amazing that it seemed incredible to them. Moreover, all his previous communications had been through an interpreter and, no doubt, their amazement was increased by hearing him address them in their own tongue.

Upon what ground did Joseph tell his brothers that they should not blame themselves for selling him into Egypt? Upon the ground that God had brought good out of the evil they had done.

Is he quite right in telling them that they should not be grieved for the wrong they did him? They were free agents; God did not will that they should sin, though He brought good out of it. From this point of view Joseph is wrong. But he doubtless sees that his brothers have long ago repented their action and does not wish them to continue to blame themselves. His assurance is no doubt prompted by a noble generosity induced, to some extent, by Judah's appeal.

What seems to be Joseph's dominating motive? His love for his father. His repeated references to him show this.

We can understand his desire to provide for his father and Benjamin, but why for his brothers who had wronged him? Partly for his father's sake, perhaps. It was natural, in those patriarchal days, that Jacob, if he migrated to Egypt, should wish his family to do the same. Besides, Joseph sees that his brothers are changed men.

What inducements does he hold out to them? He shows them that his own power in Egypt is sufficient to protect them; he promises them the fertile land of Goshen, with sufficient food for themselves and their flocks and herds; and he points out that five years of famine are yet to be in the land, and that they must inevitably suffer if the invitation is rejected.

Joseph frequently draws attention to his power in Egypt. Is he at all vain-glorious? No, he does this to assure his brothers that the wrong done him years before has had, through the goodness of God, a beneficent result; to show them that it has not been all suffering in his long exile; and to induce his father to come down to Egypt.

"After that his brethren talked with him." About what would they probably talk? No doubt Joseph would ask many things about what had occurred in Canaan since he left, and would give his brothers an account of his own experiences in Egypt.

Does it not seem strange that Joseph, during all these years, should never have taken measures to find out how his kindred fared, or to assure them that he was still alive? He was probably ever looking forward to such a situation as this, confident that the dreams of his boyhood would still be realized. It was, perhaps, this belief in the ultimate fulfilment of his dreams that had kept him silent during these years.

What qualities of character does Joseph show in his speech? A spirit of noble generosity and forgiveness, filial devotion, and a desire to find good in the midst of seeming evil.

Point out passages that indicate these qualities. What admirable characteristics does the whole selection exhibit? Simplicity, directness, and eloquence of language, noble emotion, loftiness of character, and high ideals.

As a final synthesis of the lesson, let the pupils tell the story in their own words, preserving, as far as possible, the same order of ideas as is followed in the extract. This will reveal to the teacher whether they have grasped the ideas in their proper relationship.

MERCY

(Fourth Reader, page 89)

THE SETTING OF THE SELECTION

This selection is taken from Shakespeare's play _The Merchant of Venice_, iv. i. In this play, Shylock, a Jew of Venice, had loaned Antonio three thousand ducats, repayable on a certain date without interest, but if not so paid, Antonio was to forfeit a pound of flesh from such part of his body as pleased the Jew. Antonio, not being able to pay the money as agreed, Shylock sued for the fulfilment of the bond, and in court refused to accept even three times the amount borrowed, insisting on a pound of the merchant's flesh. According to the law, there appeared to be no help for Antonio, but the judge, Portia, asked Shylock to show mercy. To this he answered, "On what compulsion must I? Tell me that." This selection is part of Portia's reply to Shylock's question. The teacher should relate to the pupils the outline given above.

ANALYSIS OF THE THOUGHT

1. The qualities of mercy:

(1) It is not forced. (2) It is gentle. (3) It carries a twofold blessing. (4) It is the most powerful attribute in men of might. (5) It is divine in its nature.

2. Where mercy is found:

(1) It is found "enthroned in the hearts of kings". (2) It is found as a Divine attribute.

3. The results of showing mercy:

(1) It adds strength to strength. (2) It makes man God-like.

Question, in order to develop the analysis of the thought, and write on the board the topics, as given by the pupils.

THE DIFFICULTIES

Quality of mercy. The nature of mercy is not strained, is not forced. When the Jew asks "Upon what compulsion must I?", Portia answers that compulsion has nothing to do with mercy. It is not in the nature of mercy to be a result of compulsion.

Mightiest in the mightiest. This is capable of a double interpretation--(1) the quality of mercy in a man of great power must be strong in proportion as his power is great. (2) Mercy is at its greatest when exhibited by the greatest. Portia would wish to convey the first meaning, as that would have the more weight with Shylock.

Becomes the thronèd monarch. The possession of this quality makes a man more truly kingly than the mere wearing of a crown.

Sceptre. The symbol of the monarch's authority.

Temporal power. Power which belongs to this world only.

Mercy--is enthronèd in the hearts of kings. The "hearts of kings" are for mercy what the throne itself is for a king--the most exalted position he can occupy.

Mercy seasons justice. Mercy tempers justice, rendering it less severe and making it more acceptable and pleasing.

Develop the meaning through Illustration, when possible. For example, to teach the meaning of "seasons" in "mercy seasons justice", lead the pupils to use the word seasons in such sentences as: We season our food with spices. Lead, from the meaning in common or familiar use, to its use in the lesson. Avoid mere dictionary meanings of words. Teach the use of the word where it is found, never one of its meanings apart from its use.

THE ARGUMENT

There is no compulsion in mercy. Its course is always from the higher to the lower. It is a blessing to both giver and receiver. The greater the mercy shown, the greater will be the giver. To show mercy does more to make a monarch kingly than does his crown. The one stands for the exercise of authority and power commanding obedience and awe; the other comes from the heart and reveals the character. It is more than kingly, it is God-like; for in exercising it, man's power becomes more like God's than in any other way.

Develop the above argument by questioning. Sum up the result by requiring the whole argument to be given by a pupil orally in his own language. Finally, require the pupils to write, as forcibly as they can, the whole of Portia's argument.

The remainder of Portia's speech as given in the play may also be given to the pupils. In that case, the remainder of the argument should be given as follows:

You demand justice, Jew. Even so, require it as you hope Heaven may require it of you. Consider that mercy is necessary to salvation, and remember that, as we all pray for mercy, that fact itself requires us all to show the deeds of mercy.

The speech containing this part of the argument is as follows:

Therefore, Jew, Though justice be thy plea, consider this, That, in the course of justice, none of us Should see salvation: We do pray for mercy; And that same prayer doth teach us all to render The deeds of mercy.

"We do pray for mercy", refers to the general prayer of humanity for mercy. To have limited its reference to the petition for mercy in the Lord's Prayer would have weakened its force to the Jew.

MORNING ON THE LIÈVRE

(Fourth Reader, page 228)

ASSIGNMENT

1. The teacher should explain to the pupils that the Lièvre River (pronounced Lee-eh-vr) runs through a deep gorge in the height of land on the Quebec side of the Ottawa River, into which it flows not far from the Capital. In some places, the banks of the Lièvre rise abruptly to a great height; at others more gradually, the slope being covered with a thick forest growth. As the river nears the Ottawa, the banks become much lower. The scenery, whether viewed from the height above or from the river below, is very beautiful.

2. The teacher should ask a few questions which can be answered easily from the pupil's own reading of the poem, for example:

From what position does the author first view the scene? What things in the scene appeal to each of the pupils as the most beautiful? Describe the incident mentioned in the last stanza. State in a single sentence the subject-matter of the whole poem.

TREATMENT

The pupils' answers to the questions given when the lesson was assigned should be dealt with first.

Stanza I

What first attracts the author's attention as he looks upward? What makes us feel how high up the banks the mist extends? What part of the mist appears most beautiful? Why? To what is it compared? How does this comparison affect our impression of (1) the colour of the mist; (2) the height of the mist? Does the comparison make the meaning clearer? Is the comparison apt? Is it beautiful?

NOTE.--When a blacksmith cools the red-hot iron in a tub of water, vapour rises to the roof of his shop. The blaze from his forge shining on this mist produces the colours mentioned. The amethyst is a precious stone, clear and translucent, with a colour inclining to purple. The presence of coal dust or smoke in the vapour would help to produce the colour of amethyst. The same effect would result, if some smoke or dust were mingled with the mist where the sun's rays reach it at the top of the gorge.

"Screams his matins to the day." What is meant? What idea does the author wish to convey by this mention of the bird? Out of hearing "of the clang of his hammer" gives a strong impression of the great height of the gorge. Of what "giant" are we made to think? What is meant by "skirts of mist"?

The teacher's reading of this stanza, a part at a time, if it is taken up in that way, or all at once, should aid much in impressing upon the minds of the pupils the wonderful beauty of the scene described, and this is the main purpose of the lesson.

Stanza II

The author is paddling down the river. Describe the movement. What shows that the mist has risen from the surface of the water? What indicates the calmness of the river? What things connected with himself does the author show to be in harmony with the scene? How does he indicate the harmony in each of the following: The motion of his canoe, the surface of the water, his own activity, the force of gravity, the character of the morning, and the forest life? We should expect him to dip his paddle very quietly, if he felt the calmness of the morning, but to show that the "silence" pervades all nature, the very drops of water from the paddle blades seem to fall gently, in sympathy with the spirit of silence reigning all around. What are the "river reaches"? The reach is the stretch of the river between two bends. How are they "borne in a mirror"? The high cliff-like banks are mirrored in the surface of the water. Explain the colour "purple gray". It is the colour of the image of the banks in the water. What is meant by "sheer away"? It means that the "river reaches" curve away like a winding road. Try to see the picture of the winding river, apparently growing smaller as it passes curve after curve. As it seems to recede into the distance, the surface of the river forms a "misty line of light", just before it melts into the shadows of the forest. Where do the forest and the stream seem to meet? What does the word "plight" suggest about their meeting? What suggests a meeting-place out of sight? Why is the meeting represented as taking place in the shadow? Now what is described in the second stanza?

"As a cloud", "like a dream". Do these make the meaning clearer? Explain. Are these comparisons apt? Show the fitness of "silvery", "crystal deep", "asleep".

Stanza III

As the author goes farther and farther down the stream, the river runs more slowly. How is this shown? What shows that the little creek runs very slowly into the river? How does the author say the creek is winding? Why would not the same word "curling" do to show that the river was winding through the gorge? What are we told about the mouth of the creek? See those sunken wrecks down in the water. What are they like? What shows you that they are very large tree trunks? What starts the ducks? See them as they rise out of the water. Make a drawing to show their position. The drawing should show them flying in the shape of a horizontal letter V, as wild ducks fly. What words show you that they keep this position unbroken? Hear them as they fly off at their utmost speed. Why such haste? What makes the "swivelling whistle"? This is the noise they make as they fly. Imagine a whistle to be set whirling around as it whistles. The change in the sound due to the whirling motion of the whistle might be called a swivelling whistle. See them go, led through the shadow. Hear them, as they disappear behind a rocky point ahead. What is meant by their "whirr"? What has made us forget all about the beauty of the silent morning? What effect did this silence probably have on the poet's judgment of the noise made by the ducks? Now what is described in the third stanza?

Consider the fitness of the words "lazy", "sucks", "bleeds", "sneak", "swept", "splashy".

SYNTHESIS OF THE WHOLE BY CORRELATING THE LESSON WITH ART

1. Make a sketch of the scene in the first stanza, showing the rocky, high, forest-covered banks, with mist rising along the slopes, and the man in a canoe on a small stream below.

2. Make a sketch of the scene described in the second stanza, showing the winding river, with its high banks appearing to meet in the distance, the man in his canoe in the foreground, and over all the dim light of early morning.

3. Make a sketch of the ducks rising from the water. Show the reeds at the mouth of the creek and the rocky spur toward which the birds are heading.

THE LIFE OF THE AUTHOR

As it is not necessary to know anything about the author to fully understand this poem, nothing should be said about his life until the pupils become interested in him through their interest in what he has written. Then teach the main points in his life. See sketch of his life, at the back of the Manual on _The Ontario Readers_.

DICKENS IN THE CAMP

(Fourth Reader, page 287)

INTRODUCTION

By way of introduction, it might be well to tell the pupils something of Bret Harte--his residence in California, his experience as a prospector in the goldfields, his stories of the mining camps, and his admiration of Dickens. (See Manual on _The Ontario Readers_, p. 315.) These facts throw considerable light upon the poem, and will be useful in aiding the pupils to interpret it properly. This poem was written shortly after the death of Dickens. It might well follow the study of _David Copperfield's First Journey Alone_ and _The Indignation of Nicholas Nickleby_.

PREPARATION

When the poem has been read, the teacher should, before beginning the analysis, ask a few general questions, such as:

What has Dickens to do with the story related in the poem? He was the author of the book read in the camp, _Old Curiosity Shop_, of which "Nell" is the heroine. (A brief outline of the story, with special reference to the feelings it arouses in the reader, might be given here.)

What kind of camp is referred to in the poem? A mining camp. The last line of the second stanza suggests this.

Where is the scene laid? Apparently in California, among the Sierra Nevada Mountains. This is indicated in the first stanza.

What is the leading idea of the poem? The effect which the reading of a story by Dickens produced in a Western mining camp.

What are the main sub-topics?

1. The scene of the incident. Stanzas I-III. 2. The reading of the story. Stanzas IV-VII. 3. A lament for the death of Dickens. Stanzas VIII-X.

MINUTE ANALYSIS

Stanza I

How does the description of the scene, as given in stanza I, differ from that given in stanza II? Stanza I gives the background and the remote surroundings, while stanza II places us in the midst of the camp.

What features give the story a romantic setting? The stately "pines", the singing "river", the "slowly drifting moon", the snow-capped mountains.

From the description in the first stanza, give as clear a picture of the location of the camp as possible. It was situated on the edge of a cañon in the Sierras, towering pines rising round about, the river flowing noisily beneath, and the mountains uplifting their snow-covered peaks in the distance.

Explain the comparison suggested in the last two lines. The mountain summits, with their everlasting snows, resemble in the distance the minarets, or lofty tapering towers, attached to Mohammedan mosques.

Which is preferable, "minarets of snow", or "snow-covered peaks"? The former, because it is a more unusual expression and because of what it suggests.

Stanza II

Why is the camp-fire represented as a rude humorist? It causes faces and forms that are haggard and care-worn to appear fresh and healthy, thus playing a grim jest upon those gathered round it.

Explain the significance of "fierce" in the last line. In the mad rush for gold, all the worst elements of man's nature are brought to the surface--disregard for the rights of others, contempt for law and order, and even carelessness with regard to human life.

Consider the fitness of the words "rude", "painted", "race", as used here.

Stanza III

What indicates the value that the owner places upon this book? The words "treasure" and "hoarded" suggest that it is one of his most highly prized possessions.

What suggests that this is not the first time the story has been read in camp? The word "anew".

How does the poet indicate the absorbing interest that the story has for these men? He says the fascination is so great as to draw the attention of these rough miners even from their card-playing. Explain "listless leisure".

Stanza IV

Explain "the firelight fell". The fire gradually died down, because, absorbed in their interest in the story, the miners forgot to put on fresh fuel.

Why is Dickens called the "Master"? A master is one who attains the highest degree of skill in some art. Dickens was master of the art of story-telling, a master of vivid narration, a master of pathos and humour.

Stanzas V and VI

Is there anything in these stanzas which might throw light upon the identity of the reader? He is probably the poet himself. His familiarity with the fancies of the reader seem to indicate this. Besides, the reader is kept very much in the background--we are told only that he was young--and this seems to be in keeping with the modesty of the poet as shown elsewhere in the poem. At any rate, we must admit that the reader was a poet, for he indulges in fancies of a highly poetical nature.

What are those fancies? Such is the absorbing interest of the story that even the pines and cedars seem to stand silent to listen, and the fir trees gather closer in order that nothing may escape their hearing.

What is the poetic element in these fancies? Ascribing to inanimate objects the power of human interest and sympathy.

What effect does the poet secure by picturing the trees as listeners? It enhances our idea of the absorbing interest of the story.

Mention any other illustrations of a poet's use of this device of attributing human sympathies to inanimate objects. Many might be given, for example:

Byron's _Waterloo_:

And Ardennes waves above them her green leaves, Dewy with Nature's tear-drops, as they pass, Grieving, if aught inanimate e'er grieves, Over the unreturning brave.

Longfellow's _Evangeline_ describing the song of the mocking-bird:

Shook from his little throat such floods of delirious music, That the whole air and the woods and waves seemed silent to listen.

Mrs. Hemans' _The Landing of the Pilgrim Fathers_:

Amidst the storm they sang, and the stars heard, and the sea.

What experience of "Nell" is alluded to in the last two lines of stanza V? She and her grandfather had been lost on their journey from London.

Why does the poet say that the whole camp "lost their way" with "Nell" on English meadows? The narrative was so vivid that the miners, in spirit, accompanied her in her wanderings.

Stanza VII

What is meant by "Their cares dropped from them"? They forgot themselves, their cares and privations, and realized the hopes and fears, the joys and sorrows of "Little Nell".

How was this result brought about? It was due to the fascination of the story.

To what does the poet compare this? To some "spell divine", some supernatural influence, which causes their own troubles to disappear for the time being.

Give, then, the meaning of "o'ertaken as by some spell divine". They are brought, as it were, under the influence of some magician, who, by the exercise of his power, transports them from their own world to that in which "Nell" lives and moves.

Show the beauty of the comparison in the last two lines of this stanza. As the needles of the pine, through the action of the wind, fall silently and almost unperceived, so the cares of the miners were forgotten in the all-compelling interest of the story.

Compare Longfellow:

The cares that infest the day Shall fold their tents like the Arabs, And as silently steal away.

Why is this comparison more appropriate than, for example, like the leaves from the trees in autumn, or, like snow-flakes from the clouds in winter? Because it is drawn from the objects at hand, not from more remote things--an example of local colour.

Explain "gusty pine". A pine exposed to the mountain blasts.

Stanza VIII

Who is referred to by "he" in the second line? Dickens--not the reader of the story.

What is meant by "wrought that spell"? Produced that magic influence.

State the question in full. Is "he who wrought that spell" lost, too?

What tale has the "towering pine" to tell? That the mining camp has disappeared.

And what the "stately Kentish spire"? That Dickens has gone. (Dickens' home was at Gadshill, in Kent.)

What is the one tale that both have to tell? A tale of disappearance and death.

Is the question asked in the second line answered? Not directly, though the answer is implied.

State the substantial meaning of the stanza. The "towering pine" of the Sierras tells of the disappearance of the mining camp; the "stately spire" of Kent tells of the death of Dickens; both bear witness to the potent influence of Dickens.

Stanza IX

What is the "fragrant story" of the Western mining camp? The tribute that the incident related in the poem pays to the magical power of Dickens as a story writer.

Why is it called a "fragrant story"? The author poetically conceives of it as being laden with the fragrance of the fir, the pine, and the cedar--a sort of "incense" to the memory of the "Master".

What is incense? The odours of spices and gums burned in religious rites.

What poetic idea does the author express in the last two lines? The hopvines of Kent are represented as uniting with the pine, fir, and cedar in sending forth their fragrance as incense.

What is the meaning, then, of the whole stanza? Let the fragrance of the pine, the cedar, and the fir, mingled with the odours of the Kentish hopvines, be as incense to the memory of the "Master".

Stanza X

Does the poet mean that the grave of Dickens is literally adorned with oak, holly, and laurel wreaths? No; he is speaking figuratively.

What do these typify? The tributes of admiration, reverence, and love that are paid to the memory of Dickens in his own country.

Of what is each emblematic? The oak is emblematic of England, the life of whose people he so vividly depicted; the holly suggests his charming Christmas stories; the laurel signifies his mastery of the art of writing.

What does the poet mean by "This spray of Western pine"? This poem was written in the Western World, as a tribute to the memory of the great novelist.

What personal characteristic does the poet show in the third line? A sense of humility, which leads him to suggest that this poem is unworthy of a place among the tributes paid to the name and fame of the great artist.

Stripped of its figurative significance, what is the meaning of the whole stanza? To the many tokens of love and admiration that are offered to the memory of Dickens, may I be permitted to add this poem--a Western tribute to the worldwide influence of the famous author.

RECONSTRUCTION

Tell the story of the poem in your own words.

In a cañon of the Sierras, a group of rough miners were gathered about a camp-fire. Around them stood the stately pines, above which the moon was slowly rising; below, at the bottom of the cañon, a river sang, as it threaded its way among the boulders; and, far in the distance, the mountains reared their snow-covered summits to the evening sky. The flickering camp-fire played strange tricks upon those gathered round it, for it gave to the care-worn faces and bent forms of the miners the appearance of freshness and health.

One of the miners, a mere youth, opened his pack, drew therefrom a copy of Dickens' _Old Curiosity Shop_, and began to read aloud. At once, all other occupations were suspended, and everybody drew near to listen to the story. The whole camp yielded itself to the fascination of the tale, and in its absorbing interest they forgot themselves and their surroundings, their ills, their hardships, and their cares. One might almost fancy that the very pines and cedars became silent, and that the fir trees drew closer to hear the story of "Little Nell".

Dickens, the "Master", has gone, but, among the many tributes that are paid to his power as a writer, let this little tale of the Western camp be added, to illustrate the universal nature of his influence.

DOST THOU LOOK BACK ON WHAT HATH BEEN

(Fourth Reader, page 289)

PREPARATION

This lesson should be preceded by a suitable preparatory lesson on the life of some man, for example, Peel, Disraeli, or Lincoln, who, in spite of all obstacles, rose to eminence in the nation and lived "To mould a mighty state's decrees".

INTRODUCTION

Tennyson and Arthur Hallam, as young men at college, were great friends. The bond of affection between them was probably as strong as it was possible for friendship between two men to be. When Hallam died in 1833, at twenty-two years of age, Tennyson said of him: "He was as near perfection as a mortal man could be". From time to time during the next seventeen years, Tennyson wrote short poems on themes which occurred to him in connection with his thoughts of Hallam. These he finally collected and published in one volume, called _In Memoriam_.

PURPOSE

The purpose of this lesson should be in harmony with the purpose of _In Memoriam_. It should, therefore, be a study of life within the comprehension of the pupils. The lesson should aid in securing the development of character and an appreciation of worthy ambition and enduring friendship.

ASSIGNMENT

The lesson should be assigned in such a way as to encourage the pupils' natural desire to learn something through their own efforts. A few questions should be given to be answered from their own study, for example:

1. What does the first line show regarding Tennyson's present thought of Hallam?

2. What stanzas describe the progress of the man who reminds him of Hallam?

3. What is described in the remaining stanzas?

4. What lines suggest something about this man's feelings toward the scenes and friends of his youth?

5. In what respect, according to the last stanza, does Tennyson show that one of these old-time friends is like himself?

CLASS WORK

What does Tennyson describe in the first four stanzas?

Stanza I

Why does he call the man "divinely gifted"? Because he has had great natural gifts.

When should we call a man of only ordinary ability "divinely gifted"? What have you read that illustrates this? (If the pupils cannot answer this question, the teacher should tell briefly the parable of the talents.)

What is meant by "Whose life in low estate began"? Why are the details about his early life mentioned? State briefly the thought contained in this stanza.

Stanza II

What was the effect of his humble birth on his progress in early life? In what ways did it act as a bar: (1) upon his own mind; (2) upon the good-will of others toward himself? Which of these two do the following lines from _[OE]none_ indicate that the poet would say must be overcome first?

Self-reverence, self-knowledge, self-control, These three alone lead life to sovereign power.

State in your own words, the full meaning of "breaks his birth's invidious bar". NOTE.--"Invidious" means likely to incur, or bring on envy, ill-will, or hatred.

What idea is suggested in the second line as to the opportunities which come to such a man? Imagine him grasping these fleeting chances. What were his probable feelings toward those things which eluded his grasp? (Be careful in answering this. Remember that the man has gained the mastery of himself.)

What is meant by "blows of circumstance"? What were some of these difficulties?

What does the action-word "breasts" suggest: (1) about the character of these difficulties, (2) about the character of the man? Explain "grapples with his evil star". What is the allusion? Tell, in the poet's own words, what this "evil star" was. Imagine this man grappling with it. What term do boys often use for a similar action? Which is going to win this wrestling match? Give reasons, from what the man has already done, for thinking that he will win. What does this action show about his belief in luck?

What do the action-words in this stanza suggest about the man's character? What sounds in each of the words help to emphasize this grim determination?

State briefly the relation of the thought of this stanza to that of the first.

Stanza III

What effect did the man's early struggles have on his mental power and character? What does Tennyson call this increased energy and strength of character? He calls it "force". Now, explain "makes by force his merit known".

What position in the gift of the nation do the next three lines show that he gained at last? What words indicate the emblem of the Premier's power?

"Clutch the golden keys." What does this action suggest as to his character? What word is generally used to denote such determination to gain power and influence? What makes such ambition lawful? What use does Tennyson show this man made of his ambition? What is meant by "mould a mighty state's decrees"? As Premier, to whom would it be his duty to give advice?

The people know that the sovereign must act on the advice of his ministers, of whom the Premier is the most influential; but they believe that the judgment of the sovereign often modifies and improves this advice. To the nation, this influence of the sovereign is a silent force, but, like the silent forces in nature, they believe it to be powerful.

In what words does Tennyson express this mutual influence of the King and the Premier? What features of this influence are expressed respectively by the words "shape" and "whisper"? What action-words in this stanza suggest the relation (1) of effort, (2) of time, to the magnitude of the work?

State in a single sentence the thought of this stanza.

Stanza IV

What is the final test of the value of a law? Its effects on the people. In what words does Tennyson show the effect on the people of the laws made through this man's influence?

Explain how this man became "The pillar of a people's hope". What words show the far-reaching extent of his influence? Which shows the more force in the man, his influence with the King or his later influence in the whole nation? In what words does Tennyson show which he thinks the greater? To which do "high" and "higher" respectively refer? What does "Fortune's crowning slope" suggest about (1) the honour which the man has now gained, (2) the nature of the road he has travelled?

Stanza V

Picture the man as he looks back after having reached the height of his ambition. Describe his mood. At what times does he indulge in these dreamy memories? What does he seem to see in these quiet hours? What hill and stream does the poet mean? What feeling does each awaken? Why is the "sweetness" called "secret"? Why is the "dearness" called "distant"?

Stanza VI

What part of his life is meant by "his narrower fate"? With what is he comparing that early life, when he calls it "his narrower fate"? Using similar language, what might his present position of great influence be called?

Some think that the first line of this stanza refers to the limitations or restrictions of his early life, while others say the poet was thinking simply of the stream, as the limit or boundary of the things that influenced his childhood. Which view is to be preferred? Which meaning agrees with the use of the word "its" in the next line? Would this man now look back on those difficulties of his early life as limitations and hindrances, or as things which helped to make him what he is?

Now explain "The limit of his narrower fate". Compare the direction in which he looks in his day dreams now, with the direction in which he looked in those of his boyhood. What is meant by "vocal springs"?

In what way were the games of his youth prophetic of his future work as a man? What do people mean by saying, "The boy is father of the man"?

Stanza VII

Describe the present occupation of the friend of his boyhood. What information about his friend does the word "native" give us? What phrases show how he does his work?

Compare the farmer's query in the last line with that in the first line of the poem.

SYNOPSIS OF DETAILS

Under the following heads, point out the resemblance of Hallam to the statesman and of Tennyson to the farmer:

1. Early friendship 2. Their separation 3. Progress since parting 4. Memories of each other.

It is hoped that no teacher will use these questions as a substitute for his own questioning. If they are accepted as suggestive in regard to both interpretation and method, they may be of real service, otherwise they will be almost valueless.

WATERLOO

(Fourth Reader, page 311)

AIM

To lead the pupils to appreciate the music and imagery of the poem.

PREPARATION

Where is Waterloo situated? In Belgium. What two armies were engaged in this battle? The French and the English; with the latter were some Prussian allies. Who were the French and the English commanders? Napoleon and Wellington. What was the result of the battle? The overthrow of Napoleon and his banishment to St. Helena. What would have been the consequence if Wellington had been defeated? Napoleon would possibly have had complete mastery of Europe. Picture this struggle of great commanders and disciplined armies, while Europe waited breathlessly for the outcome. (The pupils should read some good history of this battle.)

PRESENTATION

Read the poem to the pupils in such a way as to make vivid the scenes depicted.

DEVELOPMENT

What has the poet described in this poem? Some of the events preceding the battle.

What are the main pictures found in each stanza? (Write on the black-board.)

1. The ball

2. The sound of the enemy's cannon

3. The Duke of Brunswick

4. The farewells

5. The muster

6. The gathering of the Highlanders

7. The march to battle

8. Summary of pictures and the result.

Do you see any stanza that interferes with the progress of the action? The third stanza anticipates the battle and destroys the continuity between the sounds of the approaching enemy and the hurried farewells.

Why does the poet devote a special stanza to the Highlanders? Were they more worthy of mention than the English and Irish regiments? The author, George Gordon, Lord Byron, belonged to a Scotch family. The muster of the Highlanders at midnight, combined with their stirring music, made a very picturesque incident.

Consider the elements which contribute to the various scenes:

Stanza I

What is described? The ball given by the Duchess of Richmond. What is the emotion of this stanza? Pleasure, gaiety. What is the picture in the first line? The arrival of the guests, the welcomes, and the "revelry" of the assembly. Why does the author say "Belgium's capital" rather than "Brussels"? It suggests the capital of a nation with a noble people. Who were the "Beauty" and the "Chivalry"? The ladies, the officers of the army, and the nobility. Describe the picture you see in "bright the lamps shone o'er fair women and brave men". The large ball-room, the brilliantly lighted chandeliers, the beautiful costumes of the ladies, the uniforms and decorations of officers and nobles. Describe the images that are suggested by "and when music arose with its voluptuous swell". The bands of the regiments are playing the music of the dance. Notice how the poet changes the rhythm to the foot of three syllables, to indicate the music of the waltz. What contrast do you find in the last two lines? "Marriage bell" and "rising knell". What was the purpose of this? To show the contrast between pleasure and fear.

Stanza II

What is the theme? The sound of the enemy's cannon. Why does the author use the dramatic form? A conversation between two people of opposite temperaments gives greater reality to the picture. The first seems to expect danger, but is, for a moment, silenced by the other's upbraiding him for attempting to spoil the pleasure of the evening. A repetition of the "heavy sound" proves that he is right. The second is a lover of pleasure, who would not have the first speaker alarm the guests by his gloomy anticipations. Show how the second speaker indicates his impatience. His answers are short, he speaks in ellipses. "On with the dance", and "No sleep till morn". Notice the positive tone of the first speaker in the repetition, "It is--it is".

Stanza III

What is described here? The fate of Brunswick? Why does the author single out Brunswick from all the others who died? One specific case appeals to the reader more effectually than the report of the death of unknown thousands. Brunswick's father had been a noted general in the war with Napoleon. Explain, "Death's prophetic ear". This refers to a common superstition that "the veil of the future is lifted to those near to death". Show how the poet has broken the order of succession of the pictures. Brunswick's death is recorded before the breaking up of the ball is described.

Stanza IV

What is the theme? The farewells. What is the emotion? Fear and anguish. What words show this? "Gathering tears", "tremblings of distress", "cheeks all pale", "sudden partings", etc. Give a line in a preceding stanza that expresses the same thought as "mutual eyes". "Soft eyes looked love to eyes which spake again."

Stanza V

What is described? The muster of the troops. What is the prevailing feeling? The haste of the soldiers and the terror of the citizens. How does the poet show this haste? By the use of such phrases as "hot haste", "mustering squadron", "clattering car", "impetuous speed", "swiftly forming", as well as by the rapid movement of the verse. Why did the citizens of Brussels fear, since they had not to fight? They dreaded the pillage and ruin which would follow a French victory. Describe the scene in your own words--the cavalry forming in line, the movements of the artillery, the noise of distant cannon, the "alarming drum", and the panic of the citizens.

Stanza VI

The gathering of the Highlanders. Does the poet address the ear or the eye in this description? Only the sound of the bagpipes is described, though it may suggest a picture of the Highland regiments. What words describe the music? "Wild and high", "war-note", "thrills savage and shrill". Why does the poet mention proper names--"Lochiel", "Evan", "Donald"? The bagpipes recall stirring memories of these men, which inspire the clansmen to prove worthy of their ancestors. What is the "Cameron's gathering"? The war-song of the Cameron clan. Were there only Camerons in the Highland regiments? No, the Camerons were only one famous clan, but are taken here as representative of the heroism of all the Highlanders. Again, the use of individual specific cases produces a greater impression than a more general term. What was the "pibroch"? A wild, irregular species of music played on the bagpipes, adapted particularly to rouse a martial spirit among troops going to battle.

Stanza VII

What is described in this stanza? The march to the battle-field. What words show that? "As they pass". They were going through the forest of "Ardennes". What is the mood of this stanza? Sadness. The trees are represented as shedding tears when "Nature" thinks of the sad fate awaiting so many brave men. What were those tears? The expression refers to the dew of the early morning on the leaves of the trees, but the poet has called it "Nature's tear-drops". It is only a fanciful presentation of a natural phenomenon. Explain, "if aught inanimate e'er grieves". If inanimate nature, such as trees or grass, can express sorrow. Nature cannot grieve, but we appreciate the beauty of the imagery. Point out a contrast in this stanza. "This fiery mass of living valour", and "shall moulder cold and low".

Stanza VIII

What is the purpose of this stanza? It gives a summary of the preceding ones. Which stanza corresponds to line 2? Stanza I. Which corresponds to line 3? Stanzas II, III, and IV. Which stanzas picture the "marshalling in arms"? Stanzas V and VI. What stanzas picture "Battle's magnificently stern array"? Stanzas V and VII. Now contrast all these pictures with the last. The story is epitomized, and the end described--"friend, foe,--in one red burial blent!"

The pupils should now read the poem, in order that the teacher may judge by the varying tones and movements whether it has been properly appreciated.

THREE SCENES IN THE TYROL

(Fourth Reader, page 336)

AIM

To lead the pupils to appreciate the thrilling pictures and to understand the means by which the author has produced this vividness.

PREPARATION

The pupils have been required to read this lesson at their seats or at home.

Where is the Tyrol situated? It is a province in the Austrian Alps directly east of Switzerland. (Show its position on the map.)

The mountains are majestic, high, precipitous; the people daring and independent. The Tyrol is noted for the many accidents which happen to mountain-climbers. Who are the chief persons concerned in these three scenes? Maximilian I, Charles V, and Napoleon.

The author wishes to give, amid the most impressive surroundings, three stirring events in the lives of three great Emperors. State briefly the first story. The Emperor Maximilian was hunting a chamois, when he slipped on the edge of the precipice, rolled helplessly over, and caught a jutting ledge of rock, which interrupted his descent. An outlaw hastened to his assistance and guided him to safety.

PRESENTATION

I

Yes, this story is often called "The Rescue". Let us note how the author helps us to see the picture. Where does he place the spectator? On a "thread-like road" running between the rocky bank of the Inn River and the foot of the precipice of the Solstein.

What does the author ask you, as the imaginary spectator, to do? To throw your head back and look upward.

Why? The precipice towers perpendicularly many hundred feet above you. He wishes you to imagine you are standing on this road and the scene is taking place before your eyes.

What do you see? A hunter in pursuit of a chamois.

Describe this hunter. He is lofty and chivalrous in his bearing.

What happens? He is bounding on after a chamois toward the edge of a precipice, when he loses his footing and falls.

How does the author make you see this plainly? He uses the present tense, as if the scene were happening now--"is bounding", "loses his footing", "rolls helplessly".

Any other way? Yes, he utters exclamations, "Mark!" "Ah!" Every act is told in the form of an exclamation.

"What is it that arrests him?" This is a question. Does the author expect an answer? No, he asks the question as I would ask it of myself if I saw the hunter stopped in his descent.

Why does he not tell you who this hunter is? I see now for the first time that it is the great Emperor Maximilian who is in such peril.

Does any one else see him? Yes, the Abbot, or head of a neighbouring monastery.

Why does the author mention him? To indicate that, apparently, human aid could not save the Emperor.

What has been told us in this first paragraph? The peril of the Emperor.

What is told us in the next? His rescue.

Who else sees the danger? Zyps of Zirl.

Who is he? A famous hunter and outlaw.

Do you see him at first? No, I hear his cry. The author says "Hark! there is a wild cry!" Then I recognize the outlaw.

Why does he utter the cry? To encourage the Emperor and let him know there is some one coming to his rescue.

Again how does the author make the picture vivid? By the use of the present tense, by commands, questions, and exclamations, and by making the spectator, in his excitement, address the mountaineer directly; for example, "thou hunted and hunting outlaw, art thou out upon the heights?" etc.

By what means does the author show how the outlaw comes to the Emperor's aid? By comparing him with the chamois, the insect, and the squirrel. This man combines in himself all their powers of movement.

What does the spectator now do? He fears that all may yet be lost, so he shouts to the Emperor to have courage, that the hunter is coming.

How does the author show his relief from the strain of the last few moments? His sentences are now longer and smoother.

How was this event afterwards regarded? The peasants maintained that an angel came down to their master's rescue.

What does the author seem to think? That his rescue was due to the interposition of Providence.

What is told in the next paragraph? Zyps' reward.

What did he receive? He was created a Count and received a pension from the Emperor.

What was his title? "Count Hallooer von Hohenfeldsen."

To what does this refer? To his "wild cry" from the high peaks, when he saw the Emperor in danger.

How can you prove that this story is true? By inspecting the pension list of the Royal House of Hapsburg and by looking at a cross in the mountains that has been erected on the very spot where Maximilian was rescued.

II

Whom do you see in the second vision? The Emperor Charles V. pursued by his enemies.

Who was he? One of the greatest monarchs in Europe, greater even than his grandfather, Maximilian I. In this scene he is ill; his army has met with reverses; he has made his escape from Innsbruck, the capital of the Tyrol, and is being conveyed through the mountains to a place of safety, closely pursued by Maurice of Saxony.

Describe the scene. It is at night, the wind is high, and is driving the rain against the Emperor's litter, which is borne by mountaineers and surrounded by his faithful officers.

What is given in the first paragraph? A description of the storm.

How does the author prepare you for the scene? The night suggests danger and mystery, and the moon looks out from a cloud, as though at something taking place in the gorge. The spectator hears something besides the roar of the wind.

Select all the words that show what a fearful night it is. "Night", "dark", "wild", "gusty winds", "howling", "sheets of blinding rain", "whirling", "hissing eddies", "rent asunder", "ravings of the tempest".

Notice all the details the author has made use of to convey the idea of terror and danger.

What is described in the next paragraph? The passage of the litter through the dark gorge.

Is the spectator forgotten in this scene? No, he first hears the "tramp of feet", then he sees the torches, and, lastly, the Emperor's litter surrounded by his attendants.

What words show you the difficulty of their situation? "Hurried", "crowding", "crushing", "steep and narrow gorge", "suppressed voices", "fitful glancing of torches", "anxiously shielded", "melée", "struggle onward".

Why are their voices suppressed? As a natural result of their perilous position.

Why do they keep their torches burning? To find their way through the enemy's country amid the dangers by which they are surrounded.

What do the lamps look like? A "constellation" of stars moving on in the same relative position.

Does the author still refer to the storm? Yes, in "derisive laughter", "rude wrath of the tempest", and "plumes streaming on the wind". The author wishes to picture continuously the fitting surroundings for this adventure, and so emphasizes these details.

Why does he speak of the "derisive laughter of the storm"? He compares it to a fiend who mocks the attempts of man to battle against his power.

Who is described in the third paragraph of this vision? The Emperor himself.

Why is he not described before, as he is more important than either the storm or his comrades? The story runs in a natural order. First are seen the figures surrounding the litter, and, as it approaches, the Emperor's face is distinguishable.

What is first mentioned in connection with him? His firmly set teeth.

What does this indicate? His great physical pain, and his determination of character.

What is mentioned next? His age; he is but fifty-three, but his wrinkles are deep and his hair turning gray.

What are next described? His forehead, his nose, his eye, his underlip.

Why does the author picture these features in such detail? To show the character of the Emperor.

What are we led to infer are some of his characteristics? A strong intellect, imperious manner, cruelty, and stubborn pride.

What strong contrast is drawn? The fugitive invalid is the great Emperor. The author first discusses his illness, his flight, his suffering in the storm, his adverse fortune, and then gives him his full titles--"Emperor of Germany, King of Spain, Lord of the Netherlands, of Naples, of Lombardy, and the proud chief of the golden Western World".

Where does the author place the blame for his present sufferings? On Charles himself, whose sufferings, humiliation, and ultimate deliverance were perhaps intended as a discipline to lead him to repent for past cruelties.

What is described in the last paragraph of this scene? The escape.

Who is first mentioned? The pursuer, Maurice of Saxony.

Describe him. He is first compared to an "avenger of blood" in pursuit of a man fleeing to the cities of refuge referred to in Joshua xx. 3. He is next compared to the hound relentlessly following his prey.

Who wins in this race? Charles eludes his pursuer.

To whom should he show gratitude for his escape? To Providence.

Does he acknowledge God's protection? No, he gives all the credit to his "lucky star".

Explain this. Astrologers had said that the "Star of Austria" was always at the highest point in the heavens; and of this favoured House of Austria, Charles was Archduke.

III

The first scene is called "The Rescue"; the second, "The Run"; and the last, "The Ruin". What is described in the last scene? The destruction of the French Army.

Where is the scene laid? In the Tyrol, beside the River Inn.

What is described in the first paragraph? Bonaparte's decree that the strongholds of his enemies--the Tyrolese warrior hunters--shall be destroyed.

Why should he wish to do this? The Tyrolese were an independent people, who would not submit to conscription and taxation at the hands of the Bavarians.

By what names does the author call Napoleon? "Bonaparte." That was his surname. The French Emperor had no hereditary right to the throne, but he wished to be called Napoleon, instead of Bonaparte, just as we speak of our King as George V. and rarely refer to his surname of Guelph.

Who advised Napoleon? "His own will is his sole adviser." He ruled arbitrarily, consulting no one.

What does he do in this case? He sends ten thousand French and Bavarian soldiers to crush the Tyrolese.

Why were the Bavarians taking part in the struggle? They were at this time allies of France, and Napoleon had given to their Elector possession of this new but hostile province.

What does the second paragraph describe? The army entering the narrow gorge in the mountains.

How does the author give vividness to this picture? He endows inanimate things such as the "gorge" and the "river" with human attributes. The "gorge" looks gloomy, forbidding, and unfriendly, and the "river" seems to roar indignantly, as though at the attempt of "the mountain walls" to impede its progress.

The next sentence is in the form of a question and its answer. Who is supposed to ask this question? This is the question the leader of the army would ask and the answer he would make when he discovered the narrow road. The construction of the sentence suggests the idea of danger.

Why does the next sentence begin with "But"? "But the glittering array winds on." It suggests that some precautions for the safety of the army should have been observed; but it may have been impossible to take these precautions, and the orders of Bonaparte had to be obeyed at all hazards.

What is described in the next sentence? The author gives full details of the progress of this imposing army. The River Inn seems to share the feelings of the Tyrolese themselves and protest angrily against this invasion by a foreign power.

How is the next sentence related to the preceding? "But" marks a contrast. The noise of the army and the river is contrasted with the silence on the heights.

Why are the "eagles" mentioned? The silence is rendered more impressive by the occasional "shrill cry" of the eagles, and the "wings" of the eagles hovering above are an omen of the coming disaster which is to overtake "the gilded eagles of France" below.

What is described in the next paragraph? The "voice" from the "heights".

How does the author make this paragraph impressive? As he wishes to indicate the critical moment, he still uses the present tense, direct narration, short sentences, exclamation, and interrogation; he suggests, through a mysterious voice far up the heights, that supernatural agents are at work. The army, in its helpless length, is compared to an "uncoiled serpent".

What is the subject of the next paragraph? The destruction of the entire army.

How is this ruin accomplished? Unseen in the heights above, the Tyrolese peasantry hurl down rocks, roots, and trunks of pine trees, as well as sending a "deadly hail" from their rifles along the "whole line" of the defenceless army below.

Notice the richness of detail. What words help to make the description of their destruction more vivid? "Bounding", "thundering", "gathering speed", "headlong way", "launched down", "powerless foe", "deadly hail", "fearful storm", "crushed to death", "tumbled, horse and man, into the choked and swollen river".

Notice the contrast of this paragraph with the picture in the second paragraph of this vision of the gallant invading army.

What is the subject of the last paragraph? The reflections of the author.

Of what does he speak? Of the wonders and beauties of creation and the sad power that man possesses of spoiling and staining these wonders by giving rein to his own "evil ambitions and fierce revenges".

How has he emphasized this? By the use of exclamation, question, ellipses, and the mention of the "serpent" as the symbol of evil.

How does the interrogative form of the sentence give it vividness? Contrast the effect of saying, "Who would willingly linger on the hideous details?" with "No one would willingly linger", etc. The author does not expect an answer, he throws the sentence into the question form for the rhetorical effect. The reader pays more attention to the thought by trying to find an answer to the question.

What is the value of the ellipses in "Sorrowful that man ... should come"? It is stronger than saying, "It is sorrowful that man ... should come". The subject and verb are omitted, as they are not strong words, and "Sorrowful" is placed in the most prominent position on account of its importance.

SUMMARY

In these three pictures, what is the constant element? The scene used as the background. All three visions take place in the Tyrol, two of them on the banks of the Inn River. They are three companion pictures of this historic mountain province.

How does this style compare with that which you find in other lessons? It is abrupt and abounds in many rhetorical forms--ellipses, use of the present tense, exclamation, direct address, and accumulation of details.

Would it be suitable for all prose expression? No; it is impassioned prose, full of emotion and picturesque detail. The smoother, more regulated sentence-structure, such as is in place in ordinary narration, would be too cold for these descriptions. On the other hand, this style is not suitable for expressing a quiet mood or giving a clear explanation. It is too turbulent, and would pall upon the reader if continued at too great length, but it is often very suitable in an oratorical selection.

The pupils should finally read the lesson aloud, to show how they have appreciated the story.