The Ontario High School Reader

Aletta E. Marty

The Ontario High School Reader

EAN 8596547136477

DigiCat, 2022

Contact: DigiCat@okpublishing.info

Table of Contents

PREFACE

PRINCIPLES OF READING

THE HIGH SCHOOL READER

THE BANNER OF ST. GEORGE

JEAN VALJEAN AND THE BISHOP

THE WELL OF ST. KEYNE

FAITH, HOPE AND CHARITY

THE LEGEND BEAUTIFUL

THE VICAR'S FAMILY USE ART

THE SOLDIER'S DREAM

VAN ELSEN

PIBROCH OF DONUIL DHU

THE DAY IS DONE

THE SCHOOLMASTER AND THE BOYS

THE KNIGHTS' CHORUS

THE NORTHERN STAR

THE INDIGO BIRD

THE PASTURE FIELD

SHIPWRECKED

ON HIS BLINDNESS

BRIGGS IN LUCK

THE LAUGHING SALLY

THE PRODIGAL SON

CHRISTMAS AT SEA

THE EVENING WIND

PARADISE AND THE PERI

THE LADY OF SHALOTT

HOME THEY BROUGHT HER WARRIOR DEAD

THE SKY

THE RETURN OF THE SWALLOWS

BARBARA FRIETCHIE

BLESS THE LORD, O MY SOUL

THE ETERNAL GOODNESS

THE KING OF GLORY

THE FOUR-HORSE RACE

MRS. MALAPROP'S VIEWS

THE GLOVE AND THE LIONS

THE FICKLENESS OF A ROMAN MOB

SIR PETER AND LADY TEAZLE

THE PARTING OF MARMION AND DOUGLAS

COLUMBUS

FROM THE APOLOGY OF SOCRATES

HIGHLAND HOSPITALITY

THE OUTLAW

OF STUDIES

THE INFLUENCE OF ATHENS

NATIONAL MORALITY

HAMLET'S ADVICE TO THE PLAYERS

ROSABELLE

THE ISLAND OF THE SCOTS

CRANFORD SOCIETY

SIR GALAHAD

SONG FOR SAINT CECILIA'S DAY

THE DAY WAS LINGERING

ON FIRST LOOKING INTO CHAPMAN'S HOMER

GREAT THINGS WERE NE'ER BEGOTTEN IN AN HOUR

A WOOD LYRIC

TO NIGHT

THE OPENING SCENE AT THE TRIAL OF WARREN HASTINGS

PERORATION OF OPENING SPEECH AGAINST WARREN HASTINGS

THE SONG MY PADDLE SINGS

THE DEFENCE OF THE BRIDGE

ON THE DEATH OF KING EDWARD VII

THE HEROES OF MAGERSFONTEIN

THE FUNERAL OF JULIUS CÆSAR

THE REVENGE

HERVÉ RIEL

THE HANDWRITING ON THE WALL

PAUL'S DEFENCE BEFORE KING AGRIPPA

THE STRANDED SHIP

SIR PATRICK SPENS

KING JOHN AND THE ABBOT OF CANTERBURY

THE KEY TO HUMAN HAPPINESS

THE VISION OF SIR LAUNFAL

ON THE DEATH OF GLADSTONE

THE DOWNFALL OF WOLSEY

THE ITALIAN IN ENGLAND

ADVANTAGES OF IMPERIAL FEDERATION

COLLECT FOR DOMINION DAY

ENGLAND

APPENDIX

PREFACE

Table of Contents

After communication with many of the teachers who have been using the Principles and Practice of Oral Reading in their classes, the author has made a number of important additions and changes. In its amended form the book is published under the title of the Ontario High School Reader.

As the book is intended for the teaching of oral reading it contains an introductory chapter on the Principles of Reading, and selections for practice, with appended notes. An effort has also been made to grade the selections in the order of their difficulty. Accordingly, a number of selections, each illustrating in a marked degree only one, or at most two, of the various elements of Vocal Expression, have been placed at the beginning; these should, of course, be taught before the more complex selections are attempted.

It is not intended that the pupil shall master the chapter on the principles before beginning to read the selections; he should become familiar with each topic as it is illustrated in the lesson. In dealing with each lesson the teacher should first ascertain the elements of vocal expression that it best exemplifies. He should then discuss these elements with the pupils, using the necessary paragraphs of the Introduction, and such black-board exercises as he may deem necessary, until he is satisfied that the pupils are ready to undertake the study of the selection. At the oral reading the pupils should be able to show their mastery of the principles thus taught. Toward the close of the course, they will naturally read connectedly the various sections of the Introduction, in order to obtain a comprehensive and systematic view of the principles.

To secure good reading, systematic drill on the exercises in Vowel Sounds and in Articulation is also necessary.

PRINCIPLES OF READING

Table of Contents

Importance of Oral Reading

There are several reasons why every boy or girl should strive to become a good reader. In the first place, good oral reading is an accomplishment in itself. It affords a great deal of pleasure to others as well as to ourselves. In the second place, it improves our everyday speech and is also a preparation for public speaking; for the one who reads with distinctness and an accent of refinement is likely to speak in the same way, whether in private conversation or on the public platform. Moreover, it is only one step from reading aloud before the class to recitation, and another step from recitation to public speaking. Lastly, oral reading is the best method of bringing out and conveying to others and to oneself all that a piece of literature expresses. For example, the voice is needed to bring out the musical effects of poetry. The following lines will illustrate this point:

But the sea-caves rung, and the wild winds sung The dirge of lovely Rosabelle.

Here the music of the rhythm and the harmony between sound and sense would be almost entirely lost in silent reading.

The voice, too, is often the surest and most effective means of conveying differences of meaning and feeling in both prose and poetry. The following words from Hervé Riel (pp. 241-247) may be made to convey different meanings according to the intonation of the voice:

Burn the fleet and ruin France?

This may be read to express hesitation and deliberation, or, as is the evident intention, shewn by the context as well as by the punctuation, to express Hervé Riel's surprise and indignation that such a thought should be entertained.

Mechanical Side of Oral Reading

Now in what does oral reading consist? It consists, first of all, in recognizing the words, pronouncing them correctly, and articulating them distinctly. The pupil in the First Book, who is learning to read, is trying to master this side of reading, which is the mechanical side. He cannot be too careful as to the habits of speech he forms; for correct position of the organs of speech and proper control of the breath make for correct pronunciation and distinct articulation, which are two of the foundation stones of good reading.

By correct pronunciation, we mean the pronunciation approved by a standard dictionary. Elegance and refinement of speech depend largely on the correct pronunciation of the vowel sounds. The vowel a, which is sounded in seven different ways in the English language, presents the greatest difficulty. Many people recognize at most, only the sound of a in at, ate, all, far, and mortal respectively. They ignore the sound as in air, and the shorter quantity of the Italian a in ask, giving the sound of a in ate to the former and of a in at or a in all or a in far to the latter. Another difficulty is that of distinguishing the sound of oo in roof, food, etc., from the sound of oo in book and good, and from the sound of u in such words as pure and duke.

Pronunciation, when perfectly pure, should be free from what we call provincialisms; that is, from any peculiarity of tone, accent, or vowel sound, which would mark the speaker as coming from any particular locality. If our pronunciation is perfectly pure, it does not indicate, in the slightest degree, the part of the country in which we have lived.

Distinct articulation requires that each syllable should receive its full value, and that the end of a word should be enunciated as distinctly as the beginning. It depends largely on the way in which we utter the consonants, just as correct pronunciation depends on the enunciation of the vowels. Final consonants are easily slurred, especially in the case of words ending in two or more consonants, which present special difficulties of articulation. Such words are mends, seethes, thirsteth, breathed, etc. Sometimes, too, the careless reader fails to articulate two consonants separately when the first word ends with the consonant or consonant sound with which the second begins; for example, Sir Richard Grenville lay, Spanish ships; or when the first word ends with a consonant and the second begins with a vowel, as in eats apples, not at all, an ox, etc. On the other hand, too evident an effort to secure the proper enunciation of the sound elements should be avoided, since a stilted mode of utterance is thus produced.

Exercises for drill in the vowel sounds and in articulation are provided in Appendix A.

Expression

Oral reading, however, even in its earliest stages, consists in more than recognizing words, pronouncing them correctly, and articulating them distinctly. It includes thinking thoughts, seeing mental pictures, (which is only another form of thinking) and feeling varied emotions—all while the mechanical act of reading is going on. To illustrate, let us take a line from The Island of the Scots:

High flew the spray above their heads, yet onward still they bore.

If we wish to read this line well, what must we do besides pronouncing the words correctly and articulating them distinctly? We must think about the meaning of what we read. This includes two kinds of thinking. In the example we first think the picture presented by the words; that is, we make a mental image of the little band of Scots, hand in hand, trying to ford the swiftly flowing waters of the swollen river. This is called concrete thinking. At the same time we form some judgment based on the picture. We think of the great determination and courage these men showed in struggling forward in spite of the danger. This is called abstract thinking. But, as we have said, a reader does more than think in these two ways—he feels; and feeling, or emotion, comes of itself, if the reader thinks in the two ways described, for emotion is the result of thinking. Especially is it the result of concrete thinking; for what we see, even if only with the mind's eye, stirs our emotions more than that of which we think in the abstract.

While reading the line just quoted, there are three emotions which spring from the thinking. As we see these men struggling against the strong current we have an emotion of fear for them; then as we think of their determination and courage in the face of such great danger, an emotion of determination comes to us, for we identify ourselves with their fortunes; and lastly we are filled with admiration for their heroism. Thus we experience the three emotions of fear, determination, and admiration, while performing the mechanical act of reading the words. These emotions, together with the two kinds of thinking mentioned, affect the voice and the manner of reading, and determine what we call expression. If the words were simply repeated mechanically there would be no expression. Since expression involves the employment of so many different powers at one time, a mastery of the art of expression is much harder to acquire, than a mastery of merely the mechanical side of reading.

Accordingly, good vocal expression springs primarily from something within ourselves—that is, from our mental and emotional state. It cannot be acquired by mechanical imitation, whether of the reading of another, or of the movements, sounds, and gestures indicated in the subject matter of what we read. Nevertheless it is very stimulating to hear a selection well read, not because a model is thus supplied for our imitation, but because we get a grasp of the selection as a whole, and because the voice, which possesses great power in stirring the imagination and the feelings, thus prepares within us the mental and emotional state necessary for the correct expression.

In the same way, imitation of the movements, sounds, and gestures, suggested by the subject matter may be a stimulus to thought and feeling when preparing a selection, since what we have actually reproduced is more real to us than what we have only imagined. After such preparation, imitation, if it enters into the reading at all, will be spontaneous, and not intentional and forced. In reading The Charge of the Light Brigade or The Ride from Ghent to Aix, we do not designedly hurry along to imitate rapidity of movement; but, rather, the imagination having been kindled by the picture, our pulse is quickened, and the voice moves rapidly in sympathy with the feelings aroused.

In the following extract (p. 216) the atmosphere is one of joy. The reader is moved through sympathy with Horatius, and his voice indicates the joy of the Romans, but he does not attempt to imitate vocally, or by gesture, the shouts, clapping, and weeping:

Now round him throng the Fathers To press his gory hands; And now, with shouts and clapping, He enters through the River-Gate, Borne by the joyous crowd.

Sometimes, as already stated, we imitate spontaneously:

Back darted Spurius Lartius; Herminius darted back: And, as they passed, beneath their feet They felt the timbers crack.

Here we imitate spontaneously the movement expressive of sudden fear. Our action is prompted by our own fears for their safety.

Sometimes the feeling is still more complex. In reading the following we spontaneously reproduce Sextus' alternate hate and fear which, moreover, we tinge with our own contempt:

Thrice looked he at the city; Thrice looked he at the dead; And thrice came on in fury, And thrice turned back in dread: And, white with fear and hatred, Scowled at the narrow way Where, wallowing in a pool of blood, The bravest Tuscans lay.

In reading the little poem from The Princess, (page 107) note how we are influenced by the tense emotion of the attendants who speak. We do not try to imitate them; but having made the scene stand out before us, we speak as we in imagination hear them, in an aspirated tone of voice:

She must weep or she will die.

In the last line it would savour of melodrama to try to impersonate the lady as she says:

Sweet my child, I live for thee.

The important point is to show intelligent sympathy with her speech, not to imitate her manner of uttering it.

On the other hand we must not make the mistake of supposing that if we get the thought and the emotion, the true vocal expression will follow. One who has a fine appreciation of a piece of literature may, notwithstanding, read it very indifferently. Even in conversation where we are interpreting vocally our own thoughts and feelings, we sometimes misplace emphasis or employ the wrong inflection. How much more likely we are to fall into such errors when we attempt to interpret vocally from a book the thoughts of another.

Elements of Vocal Expression

In order to criticise ourselves or understand intelligent criticism, we must have a knowledge of the laws that govern speech—that is, we must know what properties of tone or what acts of the voice correspond to certain mental and emotional states. For example, the amount and character of thinking done while we read determines the rate of utterance; the purpose or motive of the thought and its completeness or incompleteness are indicated by an upward or downward slide of the voice; the nervous tension expresses itself in a certain key; the physical and mental energy, in a certain power or volume of the voice; and the character of the emotion is reflected in the quality. These principles of vocal expression are known technically as the elements of time, inflection, pitch, force, and quality. Closely connected with these elements are pause, grouping, stress, emphasis, shading, and perspective.

Pause. It must be quite clear that when we are reading silently, for the purpose of getting the thought for ourselves, our minds are at work as has been described. We shall now examine how this work done by the mind affects the voice and produces what we call good expression when we are reading aloud for the purpose of conveying thought to others. As an illustration we shall take an example from The Glove and the Lions:

The nobles fill'd the benches round, the ladies by their side, And 'mongst them Count de Lorge, with one he hoped to make his bride.

In these lines there are certain words or phrases which stand out prominently, since they call up mental pictures, namely: nobles, benches round, Count de Lorge, and one. In order to give time to make these mental pictures, we naturally pause after each one. At the end of the first line we combine the details, making a larger mental image, with the result that we make a long pause after side. In reading the second line, the eye and the mind run ahead of the voice, and the reader, wishing to impress the listener with the new and important idea Count de Lorge, pauses before it as well as after it. In the same way he pauses before the phrase, he hoped to make his bride, to prepare the mind of the listener to receive the impression. Thus we see that, if the mind is working, a pause occurs after a word while we are making a mental image or trying to realize the idea more fully, and also often before we express an important idea, in order to prepare the mind of the listener for what is to come.

A very useful exercise in the study of pause is to image the pictures in selections such as the following:

Come from deep glen (picture) and From mountain so rocky; (picture) The war pipe and pennon (picture) Are at Inverlocky. Come every hill-plaid, and True heart that wears one; (picture) Come every steel blade, (picture) and Strong hand that bears one. (picture)

Leave untended the herd, (picture) The flock without shelter; (picture) Leave the corpse uninterred, (picture) The bride at the altar; (picture) Leave the deer, (picture) leave the steer, (picture) Leave nets and barges: (picture) Come with your fighting gear, Broadswords and targes, (picture)

Then, too, in passing from one idea or thought to another, the mind requires time to make the transition:

Stout Lartius hurled down Aunus Into the stream beneath: Herminius struck at Seius, And clove him to the teeth: At Picus brave Horatius Darted one fiery thrust; And the proud Umbrian's gilded arms Clashed in the bloody dust.

Here the mind passes in succession from the action of Lartius to that of Herminius and that of Horatius. A long pause is required after beneath, teeth, and dust, with a shorter pause after Seius and after thrust. Further, if the thoughts concern actions far apart, more time is required to make the transition, and hence a longer pause:

All day long that free flag toss'd Over the heads of the rebel host.

Ever its torn folds rose and fell On the loyal winds that loved it well;

And through the hill-gaps, sunset light Shone over it with a warm good-night.

Barbara Frietchie's work is o'er, And the Rebel rides on his raids no more.

Note the transition in thought from the day on which these stirring events are supposed to have taken place to the present time. This is indicated by a long pause after warm good-night.

Sometimes the mind requires time to fill in ideas suggested but not expressed:

Forty flags with their crimson bars, Flapped in the morning wind: the sun Of noon look'd down and saw not one.

Here, the tearing down of the flags between the morning and noon, is suggested to the mind; hence a long pause after wind.

Where an ellipsis occurs and the meaning is not obvious, there is a pause to give time to realize the logical connection:

I'd rather rove with Edmund there Than reign our English queen.

Here's the English can and will!

Note the pauses after reign, and English (second example).

In such examples as the following where the meaning is obvious, the pauses after them, one, weary, and wounded, make prominent the important idea following:

And 'mongst them Count de Lorge, with one he hoped to make his bride.

The weary to sleep and the wounded to die.

When preparing to read a selection, it is of great importance to make the leading thoughts stand out clearly in the mind so that we may be able to present them one by one. The poem Barbara Frietchie (p. 113.) could be divided into paragraphs with some such titles as the following: (1) the town of Frederick and its surroundings, (2) the approach of the army, (3) the tearing down of the flags, (4) the raising of Barbara Frietchie's flag, (5) Stonewall Jackson and his men, and so on. Each of the paragraphs is a complete section of the poem, and requires a well-marked pause before passing on to the next one.

Grouping. In the extract from The Glove and the Lions, used above to illustrate pause, the mental pictures and important ideas are suggested in nearly every ease by a single word. Ideas are, however, suggested as often by groups of words as by single words. These groups are treated as single words, and may take pauses before or after them as the case may be. The reader, who is thinking as he reads, will group together words that express one idea, or symbolize one picture, presenting these ideas and pictures to himself and to the listener one by one, and separating by a pause, of greater or less length, those not closely connected.

A slouched leather cap|| half hid his face| bronzed by the sun and wind| and dripping with sweat.|| He wore a cravat twisted like a rope|| coarse blue trousers| worn and shabby| white on one knee| and with holes in the other;|| an old ragged gray blouse| patched on one side with a piece of green cloth| sewed with twine;|| upon his back| was a well-filled knapsack,|| in his hand| he carried an enormous knotted stick;|| his stockingless feet| were in hobnailed shoes;|| his hair was cropped|| and his beard long.

Here the double vertical lines mark off groups of words which express one idea or symbolize one picture, and which are therefore each separated from the other by a well-marked pause. The single vertical lines indicate a shorter pause between the subdivisions of each group. The phrase an old ragged gray blouse patched on one side with a piece of green cloth sewed with twine presents one picture by itself, and is separated from the context by a long pause, but each detail in this picture is presented in turn to the mind's eye, hence the shorter pauses after blouse, cloth, and twine.

The reader should be careful not to allow pause and grouping to produce a jerky effect, thus interfering with the rhythm. This applies especially to poetry, which demands, in order to preserve the rhythm, that the caesural pause should not be slighted, and that there should be a more or less marked pause at the end of each line:

And they had trod the Pass once more, and stoop'd on either side

To pluck the heather from the spot where he had dropped and died.

In the second line, the caesural pause occurs after spot, but the phrase from the spot where he had dropped and died expresses one idea and must be given as a whole. The rhythm and the grouping appear to be at variance; but the difficulty is easily overcome by making the caesural pause shorter