he looks upon it as a pastime. A superficial reading often gives him knowledge of many of the main facts, and a mistaken idea that he knows the story. It is the task of the teacher to get him to read with careful attention and with imagination keenly alive. When a fair mastery of the facts of the story has been gained, and clear mental images of the scenes portrayed and suggested have been formed, studies of plot, character, interpretation, etc., should follow. These studies, if they appeal to the class as reasonable, will stimulate thought and imagination and will help to form a basis for sound judgment and a habit of just criticism.

The practical plan here presented for the accomplishment of these ends involves three steps: first, preparation of the class for taking up the work; second, reading and study for the purpose of getting the facts; third, comprehensive study of the book as a whole, in addition to a comparison of it with other books. The purpose of the first step is to arouse an interest in approaching the story, and to prepare the pupil for an intelligent reading. In the case of some books it is of little importance, but in the case of others it is almost essential for success. Appreciation of the difficulties of the book and of the limitations of his pupils will enable the teacher to make the wisest choice of his material.

The second step is certainly the most important because it is fundamental. Students often read a book without any adequate conception of the facts of which it treats. Even after honest endeavor they frequently have gross misconceptions and fail to see much that was intended for their observation. To keep the class alert and interested, and at the same time to see that the work has been well done, requires patience, tact, and ingenuity. Sometimes difficulties and consequent discouragement are avoided by assigning with the lesson a few general questions to aid the pupil in getting a connected idea of essential details. Sometimes the same result is reached by requiring the class to write in their notebooks brief summaries of each chapter. The recitation period gives the teacher an opportunity to arouse in the class a thorough interest in the work in hand. This can be done in a variety of ways. Different parts of the story may be told by the students; questions may be asked to test the understanding of certain passages, to enable the pupil to read between the lines, and to awaken curiosity; supplementary facts may be given by the teacher, or by members of the class, to throw light on certain parts of the story.

For the third step,—the study of the book as a whole,—the following topics are suggested:

Setting and situation, plot, characters, interpretation, method of narration, style, life and character of the author, comparison with other books. Although some of these topics may have been taken up in connection with previous study, they will be found none the less valuable at this more advanced stage of the work. Certain ones are of course more important than others. The method of narration and the style, for example, should always be treated lightly, if at all, since their consideration is rather for the maturer student. To reach the best results every topic that is studied should send the pupil again and again to the book to find definite answers to the questions given and to establish the proof of his opinions.

Outline for the Study of Ivanhoe

I. Preparation

The class will probably be able to recall from their previous study of Scott some interesting facts about the author. They will understand the book better, too, if they are somewhat familiar with the following topics:

II. Reading and Study

There are advantages in a first rapid reading of the book before the more careful reading and class study, but for pupils unused to reading long books this is too much to ask in the case of Ivanhoe. The essential result to be attained in any event is familiarity with the details of the story.

III. Study of the Book as a Whole

Setting and Situation.—When did the events of the story take place?

Locate upon some map or, better, draw a map to indicate the position of Sheffield, Ashby, York, and the other places connected with the story. In the opening chapters there are various details of the situation that are more important than the actual time and place, for example, condition of the country, and the relations of the people. Make a list of them.

Compare Ivanhoe with some other novel in regard to the definiteness and importance of the setting.

What do we know from the story of the means of traveling? (pp. 14-16, 192-195, etc.); of the conditions of the clergy? (pp. 17-20, 468-474, etc.); of the relations of the Normans and Saxons? of the habits of the people? of the feudal system?

Plot.—How long a time is involved from the beginning to the end of the story?

Are there frequent surprises, or do the events occur as we expect them? Illustrate.

How does Scott arouse our interest in the development of an action? Take the Tournament, for example, and show how he arouses our expectation before he relates the event.

When do you first suspect that the Palmer is a person disguised? How does the author keep us in suspense as to his identity? (pp. 60-62, 90, etc.).

Find other instances of this device for maintaining our interest in the story (see p. 134).

Point out several events that appear, upon second thought, to be improbable. How has Scott tried to make them seem probable, so that the reader's interest will not be lost?

Give an illustration of the way in which Scott links together the various groups of characters. If the author has succeeded in so combining the interests of each group that the outcome of the main action—the success or failure of the hero and heroine—means the success or failure of the other groups, then he has secured unity of plot. Is there unity of plot here?

After the opening scene in the forest, the next important one is in the dining-room at Rotherwood. Point out in detail the incidents that lead to this scene.

In the dining-room scene what suggestions are given for the further development of the plot?

What is the next scene of importance? What incidents lead up to it?

There are, in all, eight or nine important scenes. Make a list of them, note the train of incidents that leads up to each, and also the germs of future development that each contains.

Each of these scenes marks a climax of interest. Is any one so much more important than the others, that you can say it is the climax of the book? Are any of them merely episodes that might be omitted without making the action incomplete?

How far does Brian de Bois-Guilbert influence the course of events? How far does Isaac influence them? Richard? Rebecca?

Characters.—Who is the hero? Why?

Who is the heroine? Why?

Arrange the important characters (there are from fifteen to twenty) in three or four groups according to the way they seem to be associated in the development of the story. Which characters are historical? Which, if any, are intended to represent types or classes of men?

Are any of them to be contrasted with each other?

Are the characters of King Richard and Prince John represented here as they are shown in history?

Note the chief traits of Cedric, Athelstane,