ONTARIO
TEACHERS' MANUALS
LITERATURE
TORONTO
THE COPP, CLARK COMPANY, Limited
The Minister of Education for Ontario
Reprinted, 1916, 1917.
CONTENTS
Chapter I Introduction What is Literature? 5 The Qualities that Appeal to Children at Different Ages 7 In Junior Forms 7 In Senior Forms (Books III and IV) 10 Complete Wholes versus Extracts 11 Correlation of Literature with Nature Study, Geography, History, and Art 12 Aims in Teaching Literature 14 General Principles Applicable in the Teaching of Literature 16
Chapter II Methods In Junior Forms 19 Memorization 20 In Senior Forms 22 Teacher's Preparation 22 Preparation of Pupils 23 Presentation 26 Value of Oral Reading in the Interpretation and Appreciation of Literature 27 Development of the Main Thought 29 Minute Analysis 31 Allusions 32 Imagery 33 Literature of Noble Thought 35 Recapitulation 36 Mistakes in Teaching Literature 37 Extensive Reading 39
Chapter III Illustrative Lessons Pantomime Little Miss Muffet 42 Dramatization Little Boy Blue
Chapter IV. Form I: Senior Illustrative Lessons The Wind and the Leaves 50 Piping Down the Valleys Wild 52 The Baby Swallow 54 The Brook 56
Chapter V. Form II Illustrative Lessons My Shadow 59 One, Two, Three 62 Dandelions 64 The Blind Men and the Elephant 67 The Lord is my Shepherd 71
Chapter VI. Form III Illustrative Lessons Hide and Seek 74 An Apple Orchard in the Spring 76 Little Daffydowndilly 78 Moonlight Sonata 83 Lead, Kindly Light 87 Lead, Kindly Light 89
Chapter VII. Form IV Illustrative Lessons Judah's Supplication to Joseph 93 Mercy 98 Morning on the Lièvre 101 Dickens in the Camp 105 Dost Thou Look Back on What Hath Been 112 Waterloo 117 Three Scenes in the Tyrol 122
Chapter VIII Supplementary Reading South-West Wind, Esq. 131 A Christmas Carol 135 The Lady of the Lake 139
Chapter IX
LITERATURE
PUBLIC AND SEPARATE SCHOOL
COURSE OF STUDY
DETAILS
FORM I
Consult Verse and Prose for Beginners in Reading; Riverside Literature Series, No. 59, 15 cents.
Consult Fairy Tales Every Child Should Know, by H. W. Mabie. Grosset & Dunlap, 50c.
Consult Fables and Folk Stories, by Scudder, Parts I and II; Riverside Literature Series, Nos. 47, 48, 15 cents each.
FORM II
Consult The Children's Garland, Patmore. The Macmillan Co., 35 cents.
FORM III
FORM IV
LITERATURE
CHAPTER I
INTRODUCTION
It is the purpose of this Manual to present the general principles on which the teaching of literature is based. It will distinguish between the intensive and the extensive study of literature; it will consider what material is suitable for children at different ages; it will discuss the reasons for various steps in lesson procedure; and it will illustrate methods by giving, for use in different Forms, lesson plans in literature that is diverse in its qualities. This Manual is not intended to provide a short and easy way of teaching literature nor to save the teacher from expending thought and labour on his work. The authors do not propose to cover all possible cases and leave nothing for the teacher's ingenuity and originality.
WHAT IS LITERATURE?
Good literature portrays and interprets human life, its activities, its ideas and emotions, and those things about which human interest and emotion cluster. It gives breadth of view, supplies high ideals of conduct, cultivates the imagination, trains the taste, and develops an appreciation of beauty of form, fitness of phrase, and music of language. The term Literature as used in this Manual is applied especially to those selections in the Ontario Readers which possess in some degree these characteristics. Such selections are unlike the lessons in the text-books in grammar, geography, arithmetic, etc. In these the aim is to determine the facts and the conclusions to which they lead. Even in the Readers, there are some lessons of which this is partly true. For instance, the
Each literature lesson in the Reader has some particular force, or charm of thought and expression. There is found in these lessons, not only beauty of thought and feeling, but artistic form as well. In the highest forms of literature, the emotional element predominates, and it should be one to which all mankind, to a greater or less degree, are subject. It is the predominance of these emotional and artistic elements which makes literature a difficult subject to teach. The element of feeling is elusive and can best be taught by the influence of contagion. There is usually less difficulty about the intellectual element, that is, about the meaning of words and phrases, the general thought of the lesson, and the relation of the thoughts to one another and to the whole.
THE QUALITIES THAT APPEAL TO CHILDREN AT DIFFERENT AGES
This is a psychological problem which can be solved only by a study of the interests and capacities of the children. These interests vary so greatly and make their appearance at such diverse periods in different individuals and in the two sexes, that it is a difficult matter to say with any definiteness just what qualities of literature appeal to children at any particular age. Moreover, the children's environment and previous experiences have a great deal to do in determining these interests and capacities. There are, however, certain characteristics of different periods of childhood which are fairly universal, and which may, therefore, be taken as guiding, determining factors in the selection of suitable literature.
JUNIOR FORMS
1. One of the most striking characteristics of young children is the activity of their imagination. They endow their toys with life and personality; they construct the most fantastic and impossible tales; they accept without question the existence of supernatural beings. The problem for the teacher is to direct this activity of imagination into proper fields, and to present material which will give the child a large store of beautiful images—images that are not only delightful to dwell upon, but are also elevating and refining in their influence upon character. The fairy tale, the folk tale, and the fable, owe their popularity with young children to the predominance of the imaginative element. The traditionary fairy tales and folk stories are usually more suitable than those that appear in teachers' magazines and modern holiday books for children. The hardest thing for the educated mind to do is to write down to the level of children without coddling or becoming cynical. The old tales are sincere, simple, and full of faith. They are not written for children, but are the romance of the people with whom they came into existence, and they have stood the test of ages.
The myth is usually not suitable for young children, as it is a religious story having a symbolic meaning which is beyond their interpretation. If it is used at all, only the story in it should be given.
2. Stories of adventure, courage, and the defence of the helpless appeal very strongly to young children. Even the cruelties and crudities of Bluebeard, Ali Baba and the Forty Thieves, and Aladdin and his Wonderful Lamp do not alarm or repel children very much, owing to their lack of experience in these matters. Stories based on the love of the sexes are unsuitable for children of this age, although it constitutes the chief element in stories for older people.
3. The child is also interested in stories of simple games, of animals and birds, and of the material world on which so much of his happiness depends. These stories are corrective of the desire which characterizes some children for too many fairy stories. The fairy story and the nature story should be alternated, so that the child's interests may be imaginative without becoming visionary, and practical without becoming prosaic.
4. Most children have a keen sense of the musical qualities of verse. The child of two years of age will give his attention to the rhythm of the nursery rhyme when the prose story will not interest him. The consideration and analysis of these musical qualities should be deferred for years; but it is probable that the foundation for a future appreciation of poetry is often laid by an acquaintance with the rhymes of childhood.
5. The element of repetition appeals strongly to children. In this lies the attractiveness of the "cumulative story", in which the same incident, or feature, or form of expression is repeated again and again with some slight modification; for example, the story of Henny Penny, The Gingerbread Boy, and The Little Red Hen. The choruses and the refrains of songs are pleasant for this reason.
Silverlocks and the Three Bears is an example of a story that has many attractive features. Silverlocks is an interesting girl, because she is mischievous and adventurous. The pupils know a good deal about bears and wild animals from picture books, stories, and perhaps the travelling menageries. The bears have all proper names—Rough Bruin, Mammy Muff, and Tiny; this gives an air of reality to the story. The bears speak in short, characteristic sentences.
Silverlocks runs away from home, goes into the woods, and finds a lonely house which is the home of the bears. They are not at home, so she enters. These actions suggest mystery and adventure.
The construction of the story shows two chief divisions, with three subdivisions. The second division begins with the return of the bears. They find the soup has been tasted, the chairs disturbed, and the beds rumpled; their conversation is interesting, and their tones characteristic. Tiny, the little bear, suffers most; he enlists the sympathy of the children, as he has lost his dinner and his chair is broken. He discovers Silverlocks, but she escapes and "never runs away from home any more".
SENIOR FORMS (BOOKS III AND IV)
1. In these Forms, the pupil's imagination is still strong, though less fantastic and under better control, and hence stories involving a large element of imagination retain their charm at this stage. The myth, and longer and more involved fairy tales, such as Ruskin's King of the Golden River, Hawthorne's Wonder Book, and Kingsley's Greek Heroes, are read with avidity.
2. Stories involving a number of incidents are wonderfully attractive. This is due to the pupil's instinctive interest in action and personality. Children are more deeply interested in persons who do things than in those who become something else than they were. A description of some evolution of character very soon palls, but a stirring tale of heroic deeds exerts a powerful fascination. This explains the attractiveness of the hero tale, the story of adventure, and the stirring historical narrative. The action should have the merit of artistic moderation. Stories in which there is a carnival of action, for example, the "dime thriller", under whose spell so many boys fall, must be avoided. Literature that leaves the mind so feverish that the pupil loses
3. The pupils of the Senior Forms show even more striking interest in animals, pets, and wild creatures than do the pupils of the Junior Forms. To this natural interest is due the engrossing character of nature study. To it is also due the satisfaction arising from the reading of some of the many nature stories that have appeared in recent years.
Thompson-Seton's Wild Animals I have Known and Lives of the Hunted, and Roberts' The Watchers of the Trails are excellent examples of this class.
COMPLETE WHOLES VERSUS EXTRACTS
Scattered throughout the Ontario Readers are to be found extracts from larger works. These extracts are placed there primarily because they have some special literary value. They have fairly complete unity in themselves and can be treated in detail in a way that would be impossible with a whole story. The extract has an advantage over the whole, in that it repays intensive study, while, in many cases, such study of the whole work would not be worth while. It is considered better to give the pupil many of these passages where the author has shown his greatest art, rather than to allow one long work to absorb the very limited time which the pupil can devote to this subject. The study of the extract will have accomplished its mission if it induces the pupil to read the larger work for himself in later years. If the treatment by the teacher is made as interesting as it should be, it is hoped that the pupil will obtain such delight from, and be inspired to such enthusiasm by, these glimpses of literary treasures, that he will not be satisfied until he has enjoyed in their entirety such works as The Lady of the Lake, Pickwick Papers, Lorna Doone, The Mill on the Floss, Julius Cæsar, and It is Never Too Late to Mend. An extract may serve as an introduction to the choicest work of an author, may arouse an interest in his writings, and give the pupils a taste of his quality, but, unless it whets their appetites for the work as a whole, its chief purpose will not have been accomplished. These extracts cannot give a panoramic view of a great historical epoch. They do not require that sustained attention that relates to-day's readings with that of yesterday, and that takes a wider survey of many parts in their relation to a central theme. The larger work gives a culture and a liberal education, when it is treated in the proper manner, that is very different from the fragmentary knowledge of an author that would be gained by even the intensive study of many short extracts. The treatment of the extract, as we have said, must be minute; while the whole work should be subsequently read in a method that will be outlined later on under the head of Supplementary Reading.
CORRELATION OF LITERATURE WITH NATURE STUDY, GEOGRAPHY, HISTORY, AND ART
Many of the lessons in the Ontario Readers should be preceded by preparatory work in geography, history, or nature study. Poems such as Jacques Cartier, The Charge of the Light Brigade, The Burial of Sir John Moore, and The Armada cannot be fully appreciated unless the historical setting is known. There are famous pictures that will increase the pupil's interest in these poems. In the lessons on art, there are studies of pictures that suggest feelings and thoughts characterized by universality, permanency, and nobility—pictures that stir men to nobler thought and higher aspiration. Often, such pictures are the painter's method of expressing in colours, thoughts that the poet has expressed in words. Lessons such as Dandelions, Bob White, and The Sandpiper require a preliminary acquaintance with certain facts of nature, and therefore should be taken, if possible, when these can be obtained through personal observation by the pupils. Wolfe and Montcalm and Drake's Voyage Around the World demand, in addition to historical facts, certain geographical data. These facts and data should be communicated at some time before the lessons in literature are taken, in order that the latter may not descend into lessons in history, geography, or natural science. The extracts mentioned above are not placed in the Readers to teach certain historical, geographical, or scientific facts. They are placed there, as has been said, primarily because they have some value as literature. Hence the literature lesson should require few digressions, the necessary preparatory work having been done in previous periods.
But while history, geography, nature study, and art frequently assist in the interpretation of a poem or prose selection, these subjects, on the other hand, may be reinforced and strengthened by selections drawn from the fields of literature. The facts of the history lesson will be given an additional attractiveness if the pupil is directed to some well-written biography or drama embodying the same facts, or if the teacher reads or recites to the class some spirited ballad, such as Bonnie Dundee, bearing upon the lesson. The interest in the observations made in nature study will be intensified by reading some nature story written in good literary form.
While these studies may go hand in hand with literature, it is not necessary that they should be always taken on the same day or even in the same week. The literature lesson may be an effective agent in the recall of ideas that have had time to be assimilated from previous nature study, history, or geography lessons. In our enthusiasm for literature we must not make these subjects the mere soil and fertilizers out of which the flowers of poetry will spring. Each of these subjects has its proper sphere, but that teacher misses many golden opportunities who does not frequently take a comprehensive survey of his material in all these studies in order to find the element that will give a unity to all our knowledge and experience. The lessons in the Reader may be taken according to the conditions existing in the class or the inclination of the teacher. By no means is it necessary to follow the order in the book.
AIMS IN TEACHING LITERATURE
The teacher should always have a clear and definite aim in view in teaching a selection in literature, but different teachers may have different aims in teaching the same selection. There should, of course, always be the general aim to create a taste for good literature by leading the pupils to appreciate the beauty and power of clear and artistic expression of thought and feeling; but this aim must be specific according to the nature of the selection to be taught. Some specific aims may be given as suggestive:
1. To appeal suitably to such instinctive tastes and interests of childhood as are already awake and active; for example, Second Reader, p. 3, My Shadow; p. 185, A Visit from
2. To awaken and develop interests and tastes that are as yet dormant; for example, Second Reader, p. 42, A Song for Little May; p. 88, The Brown Thrush.
3. To develop and direct the imagination; for example, Second Reader, p. 72, The New Moon; p. 117, Little Sorrow; p. 45, The Little Land; p. 172, The Wind.
4. To arouse and quicken the sense of beauty; for example, Second Reader, p. 92, Mother's World; p. 155, Lullaby.
5. To exercise and cultivate the emotions; for example, Second Reader, p. 94, Androclus and the Lion; p. 135, Ulysses; p. 107, A Night with a Wolf.
6. To develop manners and morals through examples of character and conduct in action; for example, Second Reader, p. 114, Joseph II and the Grenadier.
7. To develop appreciation for the well-told story; for example, Second Reader, p. 5, The Pail of Gold; p. 12, How I Turned the Grindstone; p. 56, The Blind Men and the Elephant; p. 211, How the Greeks Took Troy.
8. To develop a true sense of humour; for example, Second Reader, p. 50, Change About.
9. To develop a sense of reverence; for example, Second Reader, p. 203, The Lord is my Shepherd; p. 218, Abide With Me.
GENERAL PRINCIPLES APPLICABLE IN THE TEACHING OF LITERATURE
There are four outstanding principles of general method that apply particularly in the teaching of Literature.
I. The pupil must, at the outset, be placed in a receptive attitude toward the lesson if the best results are to be secured. He must have some purpose in view if he is to be induced to concentrate his attention upon it. His purposes determine his interests, and hence the lesson must, in some way, be related to interests that already exist in his mind. Frequently his instinctive interest in action, in personality, or in excitement is sufficient incentive to secure his attention. A suspicion that a lesson contains a good story is often sufficient to ensure a careful reading of it, and a curiosity as to the writer's devices to make the story interesting will lead to a closer examination of it. But more frequently some special interest resulting from the time of year, the surroundings, or the work taken in some other subject, may be effectively utilized by the teacher. These interests of children are so numerous and so varied that there are few lessons in the Readers for which a receptive attitude of mind cannot be secured. It will be observed that the principle here enunciated corresponds to the "statement of the aim" in the Herbartian "Formal Steps".
II. The pupil's mind must be suitably prepared for the assimilation of the ideas contained in the lesson, by recalling old ideas and feelings that are related to those to be presented in the selection to be studied. He must be placed in a proper intellectual attitude to interpret the ideas and in a proper emotional attitude to appreciate the feelings. Neglect of the former may make the selection wholly meaningless to the pupil; neglect of the latter may result in entire indifference toward it. A proper intellectual attitude is necessary in any lesson, but in a lesson in grammar or arithmetic the emotional attitude may be almost completely absent. In literature, however, this emotional attitude is often of the greatest importance, and the neglect of it may mean an utter lack of appreciation of some literary masterpiece. This preparatory work may take the form of a recall of some of the common experiences of the pupil's life or a review of some facts taken, for instance, in a previous geography, history, or nature study lesson. The apperceptive power of the pupil's mind takes the new material of thought and feeling contained in the selection and weaves it into the web of his previous ideas and emotions.
III. The mind always proceeds from a vague and indistinct idea of a new presentation to a clear and defined idea of it. The process is always analytic-synthetic. In a literature lesson the order of procedure must be: (1) Let the pupil get that somewhat indistinct grasp of the thought and feeling which comes from a preliminary reading of it; (2) make this more definite by a process of analysis, by concentrating attention on the details; (3) make the idea completely definite by a clear grasp of the relations existing among the various details, that is, by a process of synthesis.
IV. No impression is complete without some form of expression. An idea or emotion is a very incomplete and useless thing until it is worked out in practice and conduct. The thoughts and feelings gained from the literature lesson must be given some kind of expression if they are to be fully realized. This expression may take many different forms. The pupils may merely read the selection, showing to the listeners their understanding and appreciation of it. If it is a story, they may reproduce it in their own words orally or in writing. They may sketch a scene or a situation with pencil, or with brush and colours. They may dramatize it, or act it in pantomime. They may create a story with a similar theme, or imitate a poem by a creation of their own. The expression may not be immediate but may be delayed for days or even years, and come in some modification of future conduct.
CHAPTER II
METHODS
IN JUNIOR FORMS
To introduce children to the world of literature, it is not necessary to wait until they have mastered the art of reading. The introduction should come long before they have learned to read, through listening to good stories told or read to them by others, through hearing suitable poems read or recited with spirit and feeling, and by memorizing nursery rhymes and gems of poetry.
The material to be used in primary grades has already been described. Early work in literature should be correlated with oral composition.
As to the comparative merits of reading and telling, much may be said on each side. In the early stages, telling must, of course, be the predominant if not the exclusive means of communicating the story. The matter and language can thus be better adjusted to the capacity of the individual pupil. The teacher who is familiar with the pupil's home life and surroundings has within his power a means of adapting the story to the attainments of the pupil that even the best writer of children's stories can hardly command. A situation in a story can frequently be made intelligible by reference to the pupil's own experience. Moreover, in telling the story, the teacher's gestures, facial expression, and tone of voice are likely to be more spontaneous and natural than would be the case in reading, and this gives immense assistance in interpreting aright the meaning and spirit of the selection.
Some teachers say that the incident, as in the case of Hawthorne's Tales, is so meagre and the language so exquisite, that the telling seems to be quite inadequate and inferior to the reading of the story. In such cases, variety may be afforded by reading, but generally speaking, it is more effective to tell the story.
The teacher should strive to become a good story-teller. This requires a good voice, animated gesture and facial expression, a good command of English words, power of graphic description and narration, restraint from digression and superfluous detail, and concentration of aim upon some definite point.
In teaching poetry to primary classes, the main object is to lead the pupils to feel the music and realize the imagery. To attain this end, the best beginning is
MEMORIZATION
One of the most valuable means of securing an appreciation of literature is the memorization of fine passages of prose and poetry. Pupils from the primary grades upward should be required to memorize systematically several lines of prose and poetry every week of the school year. During childhood the mind is at its most impressionable stage, and what is committed to memory is then retained longer and more accurately than what is memorized at any later period. The passages should be carefully selected and should be suited to the capacity and interests of the pupils. Nothing should be memorized that has not some meaning for them, but it would be impossible to require that every selection should be fully understood. The selections which children commit to memory in the most plastic period of their lives will often reveal a new and unexpected meaning and beauty in later years and will be a source of keen delight and satisfaction. The passages memorized will form a standard, unconscious it may be, by which to test the excellence of other selections.
It is of the greatest importance that the passages chosen should have artistic excellence in thought, feeling, music, imagery, and language. Moreover, these qualities must be present in such a form that they will, when properly presented by the teacher's reading or reciting, appeal, in some considerable measure, to the pupils' capacities and interests. Since there are so many noble passages in English literature, nothing of doubtful value should be memorized.
It is also very important that the teacher himself should have committed to memory and be able to recite freely and expressively every selection he requires his pupils to memorize. It is clear that, if he has memorized it himself, the pupils will be more likely to feel it worth while to do the same.
In conducting a lesson in memorization, it is well for the teacher to arouse the interest of the pupils in the selection as a whole by reciting it himself with expression. Next, he should see that the pupils understand as clearly as possible the meaning, and realize and appreciate, as far as they are able, the feeling of the passage. It should be treated first as an ordinary literature lesson, after the manner already described. It should then be read aloud several times by individual pupils, all trying meanwhile to commit it to memory by concentration of attention on the ideas and their relations, the words and their meanings. The principles of all habit formation apply here—attention to the thing to be learned, so as to get a clear understanding of it, and then repetition with attention. When it has been read several times, individual pupils should be asked to recite it without any aid. It will be found more satisfactory to memorize a complete stanza at a time, or at least a part that expresses a complete thought, rather than to commit to memory a line at a time. With young pupils, however, it is well to take small units and let the children repeat one or two lines at a time till they can give the whole stanza with ease and accuracy.
It is important that all repetition should be individual, not simultaneous. Where the latter method is in use, it is noticeable that pupils adopt a uniform tone and measured rhythm, both of which are undesirable. Moreover, especially with young pupils, there is a danger that absurd blunders made by individuals may pass unnoticed, because the teacher has not the opportunity of detecting them. When the passage has been memorized, it should be repeated daily for a time and then repeated at longer intervals, until there is little probability of its being forgotten.