The selections in the High School Reader have been chosen with the belief that to pupils of such advancement as is required for entrance into High Schools and Collegiate Institutes, oral reading should be taught from the best literature, inasmuch as it not only affords a wide range of thought and sentiment, but it also demands for its appropriate vocal interpretation such powers of sympathy and appreciation as are developed only by culture; and it is to impart culture that these institutions of higher learning have been established.

Experience has shown that it is from their ordinary reading books that pupils obtain their chief practical acquaintance with literature, and the selections here presented have been made with this in remembrance. They have been taken from the writings of authors of acknowledged representative character; and they have been arranged for the most part chronologically, so that pupils may unconsciously obtain some little insight into the history of the development of the literary art. They have also been so chosen as to convey a somewhat fair idea of the relative value and productivity of authorship in the three great English-speaking communities of the world—the mother countries, our neighbours' country, and our own.

While a limited space, if nothing else, prevents the collection here made from being a complete anthology, yet it does pretend to represent the authors selected in characteristic moods, and (in so far as is possible in a school book, and a reading text-book) to present a somewhat fair perspective of the world of authorship. It may be said that, if this be so, some names are conspicuously absent: McGee, Canada's poet-orator; Parkman, who has given to our country a place in the portraiture of nations; William Morris, the chief of the modern school of romanticism; Tyndall, who of the literature of science has made an art; Lamb, daintiest of humorists; Collins, "whose range of flight," as Swinburne says, "was the highest of his generation." Either from lack of space, or from some inherent unsuitableness in such selections as might otherwise have been made, it was found impossible to represent these names worthily; but as they are all more or less adequately represented in the Fourth Reader, the teacher who may wish to correct the perspective here presented may refer his pupils to the pieces from these authors there given. It may be added, too, that the body of recent literature is so enormous, that no adequate representation of it (at any rate as regards quantity) is possible within the limits of one book.

The selections in poetry, with but three necessary exceptions, are complete wholes, and represent, as fairly as single pieces can, the respective merits and styles of their authors. The selections in prose cannot, of course, lay claim to this excellence; but they are all complete in themselves, or have been made so by short introductions; and it is hoped that they too are not unfairly representative of their authors. In many cases they are of somewhat unusual length; by this, however, they gain in interest and in representative character.

In some of the prose selections, passages have occasionally been omitted, either because they interfered with the main narrative, or because, as they added nothing to it, to omit them would be a gain of space. In most cases these omissions are indicated by small asterisks.

All the selections, both in prose and in verse, have been made with constant reference to their suitableness for the teaching of reading. They are fitted to exemplify every mode of expression, except, perhaps, that appropriate to a few of the stronger passions. It is not pretended that they are all simple and easy. Many of them will require much study and preparation before they can be read with that precision of expression which is necessary to perfect intelligibility. The chronological arrangement precludes grading; the teacher will decide in what order the selections are to be read.

The introductory chapter is mainly intended to assist the teacher in imparting to his pupils a somewhat scientific knowledge of the art of reading. Of course the teacher will choose for himself his mode of dealing with the chapter, but it has been written with the thought that he should use it as a convenient series of texts, which he might expand and illustrate in accordance with his opportunities and judgment. Examples for illustration are indispensable to the successful study of the principles described, and they should be sought for and obtained by the teacher and pupils together (whenever possible they should be taken from the Reader), and should be kept labeled for reference and practice. If the application of these principles be thus practically made by the pupils themselves, they will receive a much more lasting impression of their meaning and value than if the examples were given to them at no cost of thought or search on their part.

To the teacher it is recommended that he should not be contented with the short and necessarily imperfect exposition of the art of reading therein given. The more familiar he is with the scientific principles the more successfully will he be able to direct the studies and practices of his pupils. Works on elocution are numerous and accessible. Dr. Rush's Philosophy of the Voice is perhaps the foundation of all subsequent good work in the exposition of voice culture. Professor Murdoch's Analytic Elocution is an exhaustive and scholarly treatise based upon it, and to the plan of treatment therein fully developed the practical part of the introductory chapter has largely conformed.

The pleasing task remains of thanking those authors who have so kindly responded to requests for permission to use selections from their works: to President Wilson, for a sonnet from Spring Wild Roses, and for Our Ideal; to Mr. Charles Sangster, for two sonnets from Hesperus; to Mr. John Reade, for two poems from The Prophecy of Merlin; to Mr. Charles Mair, for the scenes from Tecumseh; and to Professor C. G. D. Roberts, for To Winter.

To Miss A. T. Jones, thanks are due for permission to use Abigail Becker, recently published in the Century Magazine. The heroic acts described in this poem seem so wonderful, so greatly superior to woman's strength, even to human strength and endurance, to accomplish, that were it possible to doubt its truthfulness, doubt one certainly would. Nevertheless the poem is not only strictly in accordance with the facts, it is even within and below them.