THE ONTARIO

High School Reader

 

 

 

 

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PREFACE

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.

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TABLE OF CONTENTS

Principles of Reading 1-35   Importance of Oral Reading 1   Mechanical Side of Oral Reading 2     Correct Pronunciation, Distinct Articulation.     Expression 3     Concrete Thinking, Abstract Thinking, Emotion.     Elements of Vocal Expression 7     Pause, Grouping, Time, Inflection, Pitch, Force, Stress, Emphasis, Shading, Perspective, Quality.     Selections 36-305

The Banner of St. George

Shapcott Wensley 36

Jean Valjean and the Bishop

Victor Hugo 38

The Well of St. Keyne

Robert Southey 43

Faith, Hope and Charity

Bible 46

The Legend Beautiful

Henry W. Longfellow 47

The Vicar's Family Use Art

Oliver Goldsmith 52

The Soldier's Dream

Oliver Goldsmith 58

Van Elsen

Frederick George Scott 60

Pibroch of Donuil Dhu

Sir Walter Scott 61

The Day is Done

Henry W. Longfellow

class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">63

The Schoolmaster and the Boys

Charles Dickens 65

The Knights' Chorus

Alfred, Lord Tennyson 70

The Northern Star

Unknown 71

The Indigo Bird

Ethelwyn Wetherald 72

The Pasture Field

Ethelwyn Wetherald 73

Shipwrecked

Robert Louis Stevenson 75

On His Blindness

John Milton 80

Briggs in Luck

William M. Thackeray 81

The Laughing Sally

Charles G. D. Roberts 84

The Prodigal Son

Bible 88

Christmas at Sea

Robert Louis Stevenson 90

The Evening Wind

William Cullen Bryant 93

Paradise and the Peri

Thomas Moore 95

The Lady of Shalott

Alfred, Lord Tennyson 100

Home they brought her Warrior dead

Alfred, Lord Tennyson 107

The Sky

John Ruskin 108

The Return of the Swallows

Edmund W. Gosse 111

Barbara Frietchie

John Greenleaf Whittier 113

Bless the Lord, O My Soul

Bible 116

The Eternal Goodness

John Greenleaf Whittier 118

The King of Glory

Bible 119

The Four-Horse Race

"Ralph Connor" 121

Mrs. Malaprop's Views

Richard B. Sheridan 126

The Glove and the Lions

Leigh Hunt 131

The Fickleness of a Roman Mob

William Shakespeare 133

Sir Peter and Lady Teazle

Richard B. Sheridan 136

The Parting of Marmion and Douglas

Sir Walter Scott 140

Columbus

class="cell_d">Joaquin Miller 143

From the "Apology" of Socrates

Benjamin Jowett 145

Highland Hospitality

Sir Walter Scott 151

The Outlaw

Sir Walter Scott 154

Of Studies

Francis, Lord Bacon 157

The Influence of Athens

Thomas Babington, Lord Macaulay 159

National Morality

John Bright 161

Hamlet's Advice to the Players

William Shakespeare 164

Rosabelle

Sir Walter Scott 166

The Island of the Scots

William E. Aytoun 168

Cranford Society

Mrs. Gaskell 178

Sir Galahad

Alfred, Lord Tennyson 182

Song for Saint Cecilia's Day

John Dryden 186

The Day was Lingering

Charles Heavysege 189

On First Looking into Chapman's Homer

John Keats 189

Great Things Were Ne'er Begotten in an Hour

Sir Daniel Wilson 190

A Wood Lyric

William Wilfred Campbell 191

To Night

Percy Bysshe Shelley 193

The Opening Scene at the Trial of Warren Hastings

Thomas Babington, Lord Macaulay 194

Peroration of Opening Speech against Warren Hastings

Edmund Burke 201

The Song My Paddle Sings

E. Pauline Johnson 203

The Defence of the Bridge

Thomas Babington, Lord Macaulay 206

On the Death of King Edward VII

Sir Herbert Henry Asquith 217

The Heroes of Magersfontein

The London Daily News 221

Funeral of Julius Cæsar

William Shakespeare 225

The Revenge

Alfred, Lord Tennyson 234

Hervé Riel

Robert Browning 241

The

Handwriting on the Wall Bible 248

Paul's Defence before King Agrippa

Bible 251

The Stranded Ship

Charles G. D. Roberts 254

Sir Patrick Spens

Old Ballad 258

King John and the Abbot of Canterbury

Old Ballad 262

The Key to Human Happiness

George Eliot 266

The Vision of Sir Launfal

James Russell Lowell 271

On the Death of Gladstone

Sir Wilfrid Laurier 278

The Downfall of Wolsey

William Shakespeare 286

The Italian in England

Robert Browning 290

Advantages of Imperial Federation

George Monro Grant 296

Collect for Dominion Day

Charles G. D. Roberts 305   Appendix

A. Exercises in Vocalization and Articulation

306  

B. Physical Exercises

312  

C. List of Reference Books

314

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PRINCIPLES OF 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:

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:

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.

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.

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:

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":

Sometimes, as already stated, we imitate spontaneously:

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:

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:

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

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.

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:

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:

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

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: