CHAPTER IV

SECOND GRADE STORIES

"ROBINSON CRUSOE"

In selecting suitable literature for children of the second grade, we follow in the steps of a number of distinguished writers and teachers and choose an English classic--"Robinson Crusoe." Rousseau gave this book his unqualified approval, and said that it would be the first, and, for a time, the only book that Emile should read. The Herbartians have been using it a number of years, while many American teachers have employed it for oral work in second grade, in a short school edition. In one sense, the book needs no introduction, as it has found its way into every nook and corner of the world. Originally a story for adults, it has reached all, and illustrated Christmas editions, designed even for children from three years and upward, are abundant. To the youth of all lands, it has been, to say the least, a source of delight, but it has been regarded as a book for the family and home. What would happen should the schoolmaster lay his hand on this treasure and desecrate it to school purposes! We desire to test this classic work on the side of its pedagogical value and its adaptation to the uses of regular instruction. If it is really unrivalled as a piece of children's literature, perhaps it has also no equal for school purposes.

In making the transition from the fairy tale to "Robinson Crusoe," an interesting difference or contrast may be noticed. Wilmann says:[5] "'Crusoe' is at once simple, and plain, and fanciful; to be sure, in the latter case, entirely different from the fairy tale. In the fairy story the fancy seldom pushes rudely against the boundaries of the real world. But otherwise in 'Crusoe.' Here it is the practical fancy that is aroused, if this expression appear not contradictory. What is Crusoe to do now? How can he help himself? What means can he invent? Many of the proposals of the children will have to be rejected. The inexorable 'not possible' shoves a bolt before the door. The imagination is compelled to limit itself to the task of combining and adjusting real things. The compulsion of things conditions the progress of the story. 'Thoughts dwell together easily, but things jostle each other roughly in space.'"

[5] Wilmann, _Paedagogische Vortraege_.

There are other striking differences between "Crusoe" and the folk-lore stories, but in this contrast we are now chiefly concerned. After reaching the island, he is checked and limited at every step by the physical laws imposed by nature. Struggle and fret as he may against these limits, he becomes at last a philosopher, and quietly takes up the struggle for existence under those inexorable conditions. The child of seven or eight is vaguely acquainted with many of the simple employments of the household and of the neighborhood. Crusoe also had a vague memory of how people in society in different trades and occupations supply the necessaries and comforts of life. Even the fairy stories give many hints of this kind of knowledge, but Robinson Crusoe is face to face with the sour facts. He is cut off from help and left to his own resources. The interest in the story is in seeing how he will shift for himself and exercise his wits to insure plenty and comfort. With few tools and on a barbarous coast, he undertakes what men in society, by mutual exchange and by division of labor, have much difficulty in performing. Crusoe becomes a carpenter, a baker and cook, a hunter, a potter, a fisher, a farmer, a tailor, a boatman, a stock-raiser, a basket-maker, a shoemaker, a tanner, a fruit-grower, a mason, a physician. And not only so, but he grapples with the difficulties of each trade or occupation in a bungling manner because of inexperience and lack of skill and exact knowledge. He is an experimenter and tester along many lines. The entire absence of helpers centres the whole interest of this varied struggle in one person. It is to be remembered that Crusoe is no genius, but the ordinary boy or man. He has abundant variety of needs such as a child reared under civilized conditions has learned to feel. The whole range of activities, usually distributed to various classes and persons in society, rests now upon his single shoulders. If he were an expert in all directions, the task would be easier, but he has only vague knowledge and scarcely any skill. The child, therefore, who reads this story, by reason of the slow, toilsome, and bungling processes of Crusoe in meeting his needs, becomes aware how difficult and laborious are the efforts by which the simple, common needs of all children are supplied.

A reference to the different trades and callings that Crusoe assumes will show us that he is not dealing with rare and unusual events, but with the common, simple employments that lie at the basis of society in all parts of the world. The carpenter, the baker, the farmer, the shoemaker, etc., are at work in every village in every land. Doubtless this is one reason why the story acquires such a hold in the most diverse countries. The Arab or the Chinese boy, the German or American child, finds the story touching the ordinary facts of his own surroundings. Though the story finds its setting in a far-away, lonely island in tropical seas, Crusoe is daily trying to create the objects and conditions of his old home in England. But these are the same objects that surround every child; and therefore, in reading "Robinson Crusoe," the pupil is making an exhaustive and interesting study of his own home. The presence of a tropical vegetation and of a strange climate does not seriously impair this fact. The skill of a great literary artist appears in his power to create a situation almost devoid of common comforts and blessings and then in setting his hero to work to create them by single-handed effort.

It will hardly be questioned that the study of the home and home neighborhood by children is one of the large and prominent problems in education. Out of their social, economic, and physical environment children get the most important lessons of life. Not only does the home furnish a varied fund of information that enables them to interpret books, and people, and institutions, as they sooner or later go out into the world, but all the facts gathered by experience and reading in distant fields must flow back again to give deeper meaning to the labors and duties which surround each citizen in his own home. But society with its commerce, education, and industries, is an exceedingly complex affair. The child knows not where to begin to unravel this endless machinery of forms and institutions. In a sense he must get away from or disentangle himself from his surroundings in order to understand them. There are no complex conditions surrounding Crusoe, and he takes up the labors of the common trades in a simple and primitive manner. Physical and mental effort are demanded at every step, from Crusoe and from the children. Many of his efforts involve repeated failure, as in making pottery, in building a boat, while some things that he undertakes with painful toil never attain success. The lesson of toil and hardship connected with the simple industries is one of great moment to children. Our whole social fabric is based on these toils, and it is one of the best results of a sound education to realize the place and importance of hard work.

It scarcely needs to be pointed out that Crusoe typifies a long period of man's early history, the age when men were learning the rudiments of civilization by taking up the toils of the blacksmith, the agriculturist, the builder, the domesticator of animals and plants. Men emerged from barbarism as they slowly and painfully gained the mastery over the resources of nature. Crusoe is a sort of universal man, embodying in his single effort that upward movement of men which has steadily carried them to the higher levels of progress. It has been said with some truth that Robinson Crusoe is a philosophy of history. But we scarcely need such a high-sounding name. To the child he is a very concrete, individual man, with very simple and interesting duties.

In a second point the author of "Robinson Crusoe" shows himself a literary master. There is an intense and naive realism in his story. Even if one were so disposed, it would require a strong effort to break loose from the feeling that we are in the presence of real experiences. There is a quiet but irresistible assumption of unvarnished and even disagreeable fact in the narrative. But it is useless to describe the style of a book so familiar. Its power over youthful fancy and feeling has been too often experienced to be doubted. The vivid interest which the book awakens is certain to carry home whatever lessons it may teach with added force. So great is this influence that boys sometimes imitate the efforts of Crusoe by making caves, building ovens, and assuming a style of dress and living that approximates Crusoe's state. This supplies to teachers a hint of some value. The story of Crusoe should lead to excursions into the home neighborhood for the purpose of a closer examination of the trades and occupations there represented. An imitation of his labors may also be encouraged. The effort to mould and bake vessels from potter's clay, the platting of baskets from willow withes, the use of tools in making boxes or tables may be attempted far enough to discover how lacking in practical ability the children are. This will certainly teach them greater respect for manual skill.

From the previous discussion it might appear that we regard the story of Crusoe as technological and industrial rather than moral. But it would be a mistake to suppose that a book is not moral because it is not perpetually dispensing moral platitudes. Most men's lives are mainly industrial. The display of moral qualities is only occasional and incidental. The development of moral character is coincident with the labors and experiences of life and springs out of them, being manifested by the spirit with which one acts toward his fellow-men. But Crusoe was alone on his island, and there might seem to be no opportunity to be moral in relation to others. Society, to be sure, was conspicuous by its absence. But the intense longing with which he thought of the home and companionships lost is perhaps the strongest sentiment in the book. His loneliness brings out most vividly his true relation to home and friends.

His early life, till the shipwreck, was that of a wayward and reckless youth, disobedient to parents and seemingly without moral scruples. Even during the first months upon the island there appears little moral change or betterment. But slowly the bitter experiences of his lonely life sober him. He finds a Bible, and a fit of sickness reveals the distresses that may lie before him. When once the change has set in, it is rapid and thorough. He becomes devout, he longs to return to his parents and atone for his faults. A complete reformation of his moral disposition is effected. If one will take the pains to read the original "Robinson Crusoe" he will find it surprisingly serious and moral in its tone. He devotes much time to soliloquizing on the distresses of his condition and upon the causes which have brought him to misery. He diagnoses his case with an amount of detail that must be tedious to children. The fact that these parts of the book often leave little direct impression upon children is proof that they are chiefly engaged with the adventure and physical embarrassments of Crusoe. For the present it is sufficient to observe that the story is deeply and intensely moral both in its spirit and in the changes described in "Crusoe."

We are next led to inquire whether the industrial and moral lessons contained in this story are likely to be extracted from it by a boy or girl who reads it alone, without the aid of a teacher. Most young readers of "Crusoe" are carried along by the interesting adventure. It is a very surprising and entertaining story. But children even less than adults are inclined to go deeper than the surface and draw up hidden treasures. De Foe's work is a piece of classic literature. But few people are inclined to get at the deeper meaning and spirit of a classical masterpiece unless they go through it in companionship with a teacher who is gifted to disclose its better meaning. This is true of any classical product we might mention. It should be the peculiar function of the school to cultivate a taste, and an appreciative taste, for the best literature; not by leaving it to the haphazard home reading of pupils, but by selecting the best things adapted to the minds of children and then employing true teaching skill to bring these treasures close to the hearts and sympathies of children. Many young people do not read "Robinson Crusoe" at all; many others do not appreciate its better phases. The school will much improve its work by taking for its own this best of children's stories, and by extending and deepening the children's appreciation of a classic.

The story of Robinson Crusoe is made by the Herbartians the nucleus for the concentration of studies in the second year. This importance is given to it on account of its strong moral tone and because of its universal typical character in man's development. Without attempting a solution of the problem of concentration at this juncture, we should at least observe the relations of this story to the other studies. Wilmann says: "The everywhere and nowhere of the fairy tale gives place to the first geographical limitations. The continents, the chief countries of Europe, come up, besides a series of geographical concepts such as island, coast, bay, river, hill, mountain, sea, etc. The difference in climate is surprising. Crusoe fears the winter and prepares for it, but his fear is needless, for no winter reaches his island." We have already observed its instructive treatment of the common occupations which prepare for later geographical study, as well as for natural science.

Many plants and animals are brought to notice which would furnish a good beginning for natural science lessons. It is advisable, however, to study rather those home animals and plants which correspond best to the tropical products or animals in the lessons. Tropical fruits, the parrot, and the goat we often meet at home, but in addition, the sheep, the ox, the mocking-bird, the woodpecker, our native fruits and grains, and the fish, turtles, and minerals of the home, may well be suggested and studied in science lessons parallel with the life of Crusoe.

Following upon the oral treatment and discussion of "Robinson Crusoe" the children are easily led to like efforts at construction, as, for instance, the making of a raft, the building of the cave and stockade, the making of chairs and tables, the moulding of jars and kettles out of clay, the weaving of baskets, the preparation and cooking of foods, the planting of grains, the construction of an oven or house, boat building, and other labors of Crusoe in providing for his wants.

It is quite customary now in second grade to set the children to work in these efforts to solve Crusoe's problems, so that they, by working with actual materials, may realize more fully the difficulties and trials to which he was subjected. In close connection with these constructive efforts are the drawings of the scenes of the story, such as the shipwreck, the stockade, the boat, the map of the island, and some of the later events of the story. A still further means of giving reality to the events is to dramatize some of the scenes between Friday and Crusoe, and to dress and equip these and other persons in the story in fitting manner. The children gladly enter into such dramatic action. These various forms of drawing, action, and constructive work are in close connection with the home studies of industries and occupations,--farming, gardening, carpenter and blacksmith shops, weaving, cooking, bakeries, and excursions to shops--which follow the Crusoe story in the study of home geography in the third grade.

Although the story should be given and discussed orally, the children should also read it later as a part of the regular reading exercise of the course. Instead of suffering from this repetition, their interest will only be increased. Classical products usually gain by repetition. The facts are brought out more clearly and the deeper meaning is perceived. To have the oral treatment of a story precede its reading by some weeks or months produces an excellent effect upon the style of the reading. The thought being familiar, and the interest strong, the expression will be vigorous and natural. Children take a pride in reading a story which they at first must receive orally for lack of reading power.

The same advantageous drill in the use of good English accrues to the Crusoe story that was observed in the fairy tales. There is abundant opportunity for oral narrative and description.

The use of the pencil and chalk in graphic representation should be encouraged both in teacher and in pupils. Thus the eye becomes more accurate in observation and the hand more free and facile in tracing the outlines of the interesting forms studied. The use of tools and materials in construction gives ideas an anchorage, not only in the brain, but even in the nerves and muscles.

In thus glancing over the field we discover the same many-sided and intimate relation with other school studies, as in the previous grade. In fact, "Crusoe" is the first extended classical masterpiece which is presented to the children as a whole. Such parts of the story as are of most pedagogical value should be simplified and woven together into a continuous narrative. That part of the story which precedes the shipwreck may be reduced to a few paragraphs which bring out clearly his early home surroundings, his disobedience and the desertion of his parents, and the voyage which led to his lonely life upon the island. The period embraced in his companionless labors and experiences constitutes the important part for school uses. A few of the more important episodes following the capture of Friday and his return home may be briefly told. We deem it a long step forward to get some of our great classical masterpieces firmly embedded in the early years of our school course. It will contribute almost as much to the culture and stimulation of teachers as of pupils.

The method of handling this narrative before the class will be similar to that of the fairy tales. A simple and vivid recital of the facts, with frequent questions and discussions, so as to draw the story closer to the child's own thought and experience, should be made by the teacher. Much skill in illustrative device, in graphic description, in diagram or drawing, in the appeal to the sense experiences of the pupils, is in demand. The excursion to places of interest in the neighborhood suggested by the story begins to be an important factor of the school exercises. As children grow older they acquire skill and confidence in oral narrative, and should be held to greater independence in oral reproductions.

One of the best school editions of "Robinson Crusoe" is published by Ginn & Co.

A simple edition for second grade is published by the Public School Publishing Co.

The teacher should be supplied with one of the larger, fuller editions of "Robinson Crusoe," like that of Houghton, Mifflin, & Co., in the Riverside Literature Series. It furnishes a much fuller detail of knowledge for the teacher's use. It will also be of great advantage for classroom use to possess an illustrated edition like that of George Routledge & Sons.

The full treatment of this story, first in simple, oral narrative, later by its use as a reading book, and later still by the child reading the complete edition for himself in private, illustrates the intensive concentration of thought and constructive activity upon a great piece of literature as opposed to a loose and superficial treatment. Such a piece of work should remain for life a source of deeper thought, feeling, and experience.

OTHER EDITIONS

Life and Adventures of Robinson Crusoe. American Book Co. Robinson Crusoe. Lee and Shepard. Robinson Crusoe for Youngest Readers. Educational Pub. Co. Robinson Crusoe. University Publishing Co. De Foe's Robinson Crusoe (Hale). Ginn & Co. De Foe's Robinson Crusoe. Maynard, Merrill, & Co.

"HIAWATHA"

The story of Hiawatha has been much used for oral treatment in primary grades, and as a basis for exercises in learning to read. Later the complete poem has been much read in third, fourth, or fifth grade as a piece of choice literature.

A story which is growing so rapidly in favor with primary teachers may explain our effort to determine its educational value.

That the story begins with the early childhood of Hiawatha and describes his home and early training at the feet of Nokomis, is at least one point in its favor.

By the shores of Gitche Gumee, By the shining Big-Sea-Water, Stood the wigwam of Nokomis, Daughter of the Moon, Nokomis. Dark behind it rose the forest, Rose the black and gloomy pine-trees, Rose the firs with cones upon them; Bright before it beat the water, Beat the clear and sunny water, Beat the shining Big-Sea-Water. There the wrinkled, old Nokomis Nursed the little Hiawatha, Rocked him in his linden cradle, Bedded soft in moss and rushes, Safely bound with reindeer sinews.

The traditions and stories he learned from the lips of Nokomis will remind children of their own home life, while his companionship with birds and animals will touch them in a sympathetic place.

Then the little Hiawatha Learned of every bird its language, Learned their names and all their secrets, How they built their nests in Summer, Where they hid themselves in Winter, Talked with them whene'er he met them, Called them "Hiawatha's Chickens."

The games and exercises of his youth will remind them of their own sports and introduce them to Indian life. This home of Hiawatha, and the description of his childhood, are a happy introduction to the simple surroundings of Indian life on the shores of the northern sea.

Primitive Indian modes of life, traditions and myths, appeal naturally to children, and the whole story has this setting of early simplicity which adapts it in many ways to child study. The Indian nature myths, which in themselves are attractive, are here woven into a connected series by their relation to Hiawatha in the training of his childhood and in the exploits of his manhood.

The number of pure fairy tales scattered through the story adapts it especially for young children, while the descriptions of home customs, feasts, weddings, merrymaking, and games, show the happier side of their life.

Ye who love a nation's legends, Love the ballads of a people, That like voices from afar off Call to us to pause and listen, Speak in tones so plain and childlike, Scarcely can the ear distinguish Whether they are sung or spoken;-- Listen to this Indian Legend, To this song of Hiawatha! Ye whose hearts are fresh and simple, Who have faith in God and Nature, Who believe, that in all ages Every human heart is human, That in even savage bosoms There are longings, yearnings, strivings For the good they comprehend not, That the feeble hands and helpless, Groping blindly in the darkness, Touch God's right hand in that darkness, And are lifted up and strengthened;-- Listen to this simple story, To this Song of Hiawatha!

The description of husking time is such a pleasing scene, while the picture writing of the Indians, their totems and rude drawings, are in harmony with their traditions and religion.

On the border of the forest, Underneath the fragrant pine-trees, Sat the old men and the warriors Smoking in the pleasant shadow. In uninterrupted silence Looked they at the gamesome labor Of the young men and the women; Listened to their noisy talking, To their laughter and their singing, Heard them chattering like the magpies, Heard them laughing like the blue jays, Heard them singing like the robins. And whene'er some lucky maiden Found a red ear in the husking, Found a maize-ear red as blood is, "Nushka!" cried they all together, "Nushka! you shall have a sweetheart, You shall have a handsome husband!" "Ugh!" the old men all responded From their seats beneath the pine-trees.

And the Jossakeeds, the Prophets, The Wabenos, the Magicians, And the Medicine-men, the Medas, Painted upon bark and deer-skin Figures for the songs they chanted, For each song a separate symbol, Figures mystical and awful, Figures strange and brightly colored; And each figure had its meaning, Each some magic song suggested.

One of the most striking features of this story is its setting in nature. More than any other piece of literature now used in the school, it is redolent of fields and forest.

Should you ask me, whence these stories, Whence these legends and traditions, With the odors of the forest, With the dew and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their frequent repetitions, And their wild reverberations, As of thunder in the mountains? I should answer, I should tell you, "From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fenlands, Where the heron, the Shuh-shuh-gah, Feeds among the reeds and rushes."

Should you ask where Nawadaha Found these songs, so wild and wayward, Found these legends and traditions, I should answer, I should tell you, "In the birds'-nests of the forest, In the lodges of the beaver, In the hoof-prints of the bison, In the eyry of the eagle! All the wild-fowl sang them to him, In the moorlands and the fenlands, In the melancholy marshes; Chetowaik, the plover, sang them, Mahng, the loon, the wild-goose, Wawa, The blue heron, the Shuh-shuh-gah, And the grouse, the Mushkodasa!"

This description of primitive man is as complete an absorption into his natural surroundings as is possible. His food and clothing, his tents and boats, his weapons and war gear, are drawn directly from nature's first supplies, and man, in this case, seems almost a part of nature, so completely are his thoughts and activities determined and colored by his environment. Like the animals, in their protective coloring, he becomes an undistinguishable part of his surroundings. His nature myths and superstitions are but phases and expressions of the contact of his crude mind with forces and objects in nature. In this respect there are many interesting suggestions of similar interpretations among the Norse and Greek mythologies.

The close and friendly contact of Hiawatha with trees and animals, his companionship with the squirrel, the woodpecker, and the beaver, his talking acquaintance with trees of the forest, with the fishes in the Big-Sea-Water, and with the masters of the winds, the storm, and the thunder, make him an interesting guide for the children among the realms of nature.

Ye who love the haunts of nature, Love the sunshine of the meadow, Love the shadow of the forest, Love the wind among the branches, And the rain-shower and the snow-storm, And the rushing of great rivers Through their palisades of pine-trees, And the thunder in the mountains, Whose innumerable echoes Flap like eagles in their eyries;-- Listen to these wild traditions, To this Song of Hiawatha!

A happy, sympathetic love for the sights and sounds in nature is a fortunate beginning of nature lore. The imaginative interpretations are common to all the early races and in full harmony with the temper of childhood. Even from the standpoint of nature study, this early poetic joy in nature descriptions is profitable. The matter-of-fact, analytic study of natural science in succeeding years need not begrudge the children this happiness, this interpretative play of the imagination, this music of field and forest. In early childhood, nature and poetry are one, and as Lowell says, "Let us not go about to make life duller than it is."

The simplicity and beauty of the language and figure of speech make many parts of this poem especially appropriate for children.

Young and beautiful was Wabun; He it was who brought the morning, He it was whose silver arrows Chased the dark o'er hill and valley; He it was whose cheeks were painted With the brightest streaks of crimson, And whose voice awoke the village, Called the deer, and called the hunter.

He meanwhile sat weary waiting For the coming of Mondamin, Till the shadows, pointing eastward, Lengthened over field and forest, Till the sun dropped from the heaven, Floating on the waters westward, As a red leaf in the Autumn Falls and floats upon the water, Falls and sinks into its bosom.

And the pleasant water-courses, You could trace them through the valley, By the rushing in the Spring-time, By the alders in the Summer. By the white fog in the Autumn, By the black line in the Winter.

The simple music and rhythm of the poetic form is so delightful to children that they absorb whole passages into their memory without conscious effort. The mere re-reading of parts of the poem to little children under six years will often produce this happy result. A little girl of three years picked up, among others, this passage:--

Dark behind it rose the forest, Rose the black and gloomy pine-trees, Rose the firs with cones upon them; Bright before it beat the water, Beat the clear and sunny water, Beat the shining Big-Sea-Water.

The repetitions of the same or similar passages, so common throughout the poem, is a successful appeal to children's favor. It gives the story a sort of Mother Goose flavor which is delightful.

While the story centres in Hiawatha, it has a variety of interesting personalities, giving expression to the striking features of this primitive society. Hiawatha's loved ones, Minnehaha and old Nokomis, stand first, and his chosen friends are next.

Two good friends had Hiawatha, Singled out from all the others, Bound to him in closest union, And to whom he gave the right hand Of his heart in joy and sorrow; Chibiabos, the musician, And the very strong man, Kwasind.

And these two, as I have told you, Were the friends of Hiawatha, Chibiabos, the musician, And the very strong man, Kwasind. Long they lived in peace together, Spake with naked hearts together, Pondering much and much contriving How the tribes of men might prosper.

In connection with these persons is a most pleasing series of adventures, bringing to notice those heroic qualities which children love to witness. The very strong man, Kwasind, is a fitting companion in their thoughts to Samson and Hercules; and Chibiabos,

He the best of all musicians, He the sweetest of all singers,

has had many a prototype since the days of Orpheus.

Pau-Puk-Keewis, with his dancing and tricks, will also prove a curious character, something like Proteus of old.

You shall hear how Pau-Puk-Keewis He, the handsome Yenadizze, Whom the people called the Storm Fool, Vexed the village with disturbance; You shall hear of all his mischief, And his flight from Hiawatha, And his wondrous transmigrations, And the end of his adventures.

The character of Hiawatha, as of the benefactor, of one devoted, with high purpose, to the welfare of his people, may be regarded as the deeper motive of the author. It is the thought of ideal good in Hiawatha which gives tone and meaning to the whole poem.

You shall hear how Hiawatha Prayed and fasted in the forest, Not for greater skill in hunting, Not for greater craft in fishing, Not for triumphs in the battle, And renown among the warriors, But for profit of the people, For advantage of the nations.

The views of geography and history at the beginning and close of the poem not only give a broad scope to the story, but have an interesting bearing upon the study of geography and history in those years of school which immediately follow. The narrative reaches from the Vale of Tawasentha in New York, across the great lakes and shining Big-Sea-Water to Minnehaha and the Upper Mississippi, and even to the prairies and the distant Rocky Mountains beyond. In the summoning of the tribes at the Great Pipe Stone Quarry there is a broad survey of the Indian tribes of the United States.

From the vale of Tawasentha, From the Valley of Wyoming, From the groves of Tuscaloosa, From the far-off Rocky Mountains, From the Northern lakes and rivers All the tribes beheld the signal, Saw the distant smoke ascending, The Pukwana of the Peace-Pipe.

Down the rivers, o'er the prairies, Came the warriors of the nations.

A map of North America is necessary for showing the meaning of this description to the children.

In the last part the coming of the white man and the prophecy of his spreading over the land, and the dwindling of the native tribes to the westward, are given.

Iagoo's description of the white men, their ships and appearance, to his people on the return from his travels, will greatly please the children.

He had seen, he said, a water Bigger than the Big-Sea-Water, Broader than the Gitche Gumee, Bitter so that none could drink it! At each other looked the warriors, Looked the women at each other, Smiled, and said, "It cannot be so! Kaw!" they said, "It cannot be so;"

"O'er it," said he, "o'er this water Came a great canoe with pinions, A canoe with wings came flying, Bigger than a grove of pine-trees, Taller than the tallest tree-tops!" And the old men and the women Looked and tittered at each other; "Kaw!" they said, "we don't believe it!"

The story of Hiawatha has been used sufficiently in primary grades to show how many are its suggestions for drawing and constructive work. Little children take delight in drawing the Indian tents, bows and arrows, pine forests, Indian warriors and dress, the canoe, the tomahawk, the birds and animals. The cutting of these forms in paper they have fully enjoyed.

Pictures of Indian life, collections of arrow-heads, the peace-pipes, articles of dress, cooking utensils, wampum, stone hatchets, red pipe-stone ornaments, or a visit to any collection of Indian relics are desirable as a part of this instruction. The museums in cities and expositions are rich in these materials, and in many private collections are just the desired objects of study.

It is well known that children love to construct tents, dress in Indian style, and imitate the mode of life, the hunting, dancing, and sports of Indians. Teachers have taken advantage of this instinct to allow them to construct an Indian village on a small scale, and assume the dress and action of Hiawatha and his friends, and even to dramatize parts of the story.

It is only certain selected parts of the "Hiawatha" that lend themselves best to the oral treatment with children, and that, at first, not in the poetic form. In fact, the oral treatment of a story in beautiful poetic form demands a peculiar method.

For example, in treating the childhood of Hiawatha as he dwelt with old Nokomis in the tent beside the sea, the main facts of this episode, or a part of it, may be talked over by means of description, partly also by development, question, and answer, and when these things are clear, let this passage of the poem be read to the children. The preliminary treatment and discussion will put the children in possession of the ideas and pictures by which they can better appreciate and assimilate the poem. This mode of introducing children to a poem or literary masterpiece is not uncommon with children in later years, at least in the middle grades.

It has been customary to use nearly the whole poem in fourth or fifth school year for regular reading, and it is well suited to this purpose. Its use in primary grades for such oral treatment as we have described will not interfere with its employment as reading matter later on, but rather increase its value for that purpose.

The method of handling such a poem as reading has been discussed in the Special Method in the Reading of Complete English Classics.

A number of books have been written by practical teachers on the use of "Hiawatha" in primary grades:--

"The Hiawatha Primer." Houghton, Mifflin, & Co. "Hints on the Study of Hiawatha" (Alice M. Krackowizer). A. Flanagan, publisher.

The best edition of the "Hiawatha" is "Longfellow's Song of Hiawatha," which is well illustrated. Published by Houghton, Mifflin, & Co.

Other editions are "The Song of Hiawatha." The Educational Publishing Co.

"Longfellow's Hiawatha." The Macmillan Co. "Song of Hiawatha." University Publishing Co.