Journeys Through Bookland Volume X Part 44

_e._ Watch for errors in case among the p.r.o.nouns. The objective case is troublesome.

_f._ Look for adjective forms where adverbial forms are correct.

8. Require care in all work. Neatness and legibility are essential.

9. Mark errors, do not correct them. Let the children do that. A simple system of marks will enable you to indicate the nature of the error.

10. When the mistakes have been corrected, have a neat copy made and preserved.

11. Try sincerely to work with your children and to secure a genuine spirit of co-operation.

B. Literature in Written Lessons.

Indirectly, all that is said on the teaching of reading in this and other volumes bears upon language, and you are earnestly urged to consider it all carefully in that light. More directly, what has been written herein on the subject of conversation lessons and oral language is a necessary preliminary to any discussion of written work and should be used freely in the a.s.signment and preparation of subjects for written exercises. The outlines for study in reading and the outlines of the oral lessons are easily modified to become very satisfactory outlines for compositions. The selections recommended for oral lessons are all adapted to written work.

NARRATION. As in other instances, however, it here seems wise to give a few suggestions specifically for the written exercises, and as a basis for such suggestions we will take selections from _Journeys Through Bookland_.

Robin Hood has been an interesting character for many generations of schoolboys, and among the ballads concerning him (Volume III, page 436) are several good selections for reading aloud. Most children know something about Robin Hood and many of them have read full accounts, yet probably the old ballads are not familiar. The note on page 436 gives information about the ballads and tells what it is necessary to know about Robin Hood himself. Suppose we take as a subject the ballad on page 444, _Robin Hood and the Stranger_. The notes explain peculiar expressions and give the meanings of obsolete words. There is a manly, rough-and-tumble spirit in the ballad that boys like, and it is clean and wholesome, as well.

Read the ballad to the children, explaining the more obscure words and phrases as you go along. Encourage the children to ask questions whenever they do not fully understand. Talk freely until you have made everything clear and have secured interest. Then read the whole ballad without interruption. Read with expression and enthusiasm. Show the spirit and virility of the men.

Then by questions bring out the facts of the narrative in logical order as they appear, and have each child copy them for himself. They const.i.tute the outline each is to write. Adapt the outline to the age and acquirements of the child; make it as full or as brief as you please, but make it logical and complete. Let it be similar to the following:

1. Robin Hood goes hunting.

2. He meets a well-dressed stranger.

3. The stranger kills a deer by a remarkable shot with his bow.

4. Robin Hood invites the stranger to join his company.

5. The stranger threatens Robin Hood.

6. They prepare to fight with bows.

7. Robin Hood thinks it a pity that either should be slain, and proposes to fight with broadswords.

8. Robin Hood strikes a heavy blow which the stranger returns with interest.

9. Robin Hood feels great respect for the stranger's power, and asks who he is.

10. The stranger proves to be Robin Hood's only nephew.

11. They meet Little John, who wants to fight young Gamwell.

12. Robin Hood compels peace, makes Gamwell second to Little John and names him Scarlet.

Talk to the children freely after you have made the outline; advise them to make the story interesting, dramatic, and not too long. Show them that it is better to use direct discourse; that is, to make the characters seem alive. The result will be a good _narration_, the simplest and most common form of written discourse.

DESCRIPTION. To so describe a scene to another person that he may see it clearly and vividly is high art. It is necessary in narration and often lends strength to description and exposition. Accordingly, it is one of the most important forms of composition. In no direction, perhaps, can _Journeys Through Bookland_ be of greater a.s.sistance.

I. In the first place, the pictures are a mine of subjects for description. The pictures themselves may be described, and many of them will suggest other subjects for similar tasks. For instance, in Volume V, on page 219, is a picture of Sir Galahad when the Holy Grail appears to him. Some of the topics for description are the following:

1. The picture, _Sir Galahad_. (For suggestions as to the description of pictures, etc., see the topic _Pictures and Their Use_, in this volume.)

2. The trees in the forest.

3. The armor of Sir Galahad and the trappings of his horse.

Again, in Volume V, on page 17, is the picture of Gulliver's _Journey to the Metropolis_, which gives us these topics:

1. The picture.

2. The cart on which the Lilliputians transport Gulliver. (Read the account in the story for further facts.)

Facing page 116 in the same volume is the halftone of King Arthur in armor. To write a minute description of the armor would be an excellent exercise, requiring close observation and not a little reading, if the children wish to name the pieces of armor the king wears.

II. Many of the stories contain beautiful descriptive pa.s.sages, which may be studied with profit, and some of the selections are almost wholly descriptive. An excellent example of the latter type and an exceedingly interesting article for children is _Some Children's Books of the Past_ (Volume V, Page 101).

_The King of the Golden River_ (Volume II, page 405) and _A Christmas Carol_ (Volume VI, page 244) are especially rich in material of this kind. On page 408 of the former selection the King is described at his first appearance. An a.n.a.lysis of the paragraph is to be found on page 445 of the same volume, under the t.i.tle _First Appearance_. By comparing the a.n.a.lysis and the descriptive paragraph it will be seen that the former gives the facts only, while in the latter there are comparisons and descriptive words that make the whole vivid and artistic.

The outline is a good description of an imaginary person. After the children have studied paragraph and outline, give them another outline like this:

1. General statement, or introduction.

2. Nose.

3. Cheeks.

4. Eyes.

5. Beard.

6. Hair.

7. Height.

8. Clothing.

_a._ Hat.

_b._ Coat.

_c._ Vest.

_d._ Trousers.

_e._ Shoes.

Require each child to follow the outline and to write a smooth, readable description of a man whom he knows. Vary the exercise by asking the children to describe some man whose picture you show; some man whom all have seen, or, if it can be done in the proper spirit, one of the other children who is willing to pose. Then ask them to describe some fanciful character about whom you make a general statement, as, for example, "He was the most amusing man I ever saw in my life," or, "He was certainly the most dignified man in appearance and the best-dressed man I ever saw." A comparison of the descriptions given by the different members of the cla.s.s will be amusing and instructive. Try to secure descriptions which in style are in harmony with the subject.

III. In many of the selections the authors have not tried to describe things very fully. In such cases you have fine opportunities to train the imagination by asking the children to supplement the descriptions.

For instance, _On the Receipt of My Mother's Picture_ (Volume VII, page 331) raises among other subjects for descriptive writing the following:

1. Describe Cowper's mother.

2. Describe the picture he received.

3. Describe the home of his infancy.

4. Describe the "well-havened isle."

Children should be taught to look through the entire poem for facts that bear on the topics. When writing, they must not misrepresent these facts nor give others that contradict those in the poem. Where nothing is said, the child may see what he likes. Such exercises tend to make children appreciate good literature, and, when they are reading, to visualize the things to which allusion is made.