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Head of English Department, The Evander Childs High School
New York City

12
YEAR
Reading-
Literature

PROGRAM

SCOTT, FORESMAN AND COMPANY

CHICAGO

ATLANTA

NEW YORK

Copyright 1924, 1929

SCOTT, FORESMAN AND COMPANY

For permission to use copyrighted material grateful acknowledgment is
made to Mr. Mitchell Kennerley for the two poems by Edna St. Vincent
Millay from Renascence and Other Poems; to Henry Holt and Company for
the three poems by Robert Frost from New Hampshire and Mountain Interval;
for the four poems by Walter de La Mare from Poems 1901-1918 and from
The Veil and Other Poems; for the two poems by A. E. Housman from A Shrop-
shire Lad; and for the essay by Simeon Strunsky from Belshazzar Court; to
Pinker & Son, London, and to George H. Doran Company, the American
publishers, for Arnold Bennett's "From One Generation to Another" from Mr.
Bennett's The Matador of the Five Towns and Other Stories; to A. P. Watt &
Son and to Dodd, Mead and Company, the American publishers, for “A
Defense of Nonsense" by G. K. Chesterton from A Defense of Nonsense and
Other Essays, by permission of these firms and of Mr. Chesterton; to A. P. Watt
& Son, London, and to Doubleday, Page and Company, the American publish-
ers, for the three poems by Rudyard Kipling from Rudyard Kipling's Verse,
Inclusive Edition, 1885-1918, by permission of these firms and of Mr. Kipling; to
Harper and Brothers and to the author for Hamlin Garland's "Under The Lion's
Paw" from Main Traveled Roads; to Dodd, Mead and Company for the poem
by John Davidson from Ballads and Songs; for the three poems by William
Watson and the three poems by Rupert Brooke from the Collected Poems of
each of these poets, copyright by Dodd, Mead and Company, Inc.; to Jonathan
Cape, Ltd., publishers, London, for the three poems by William Henry Davies
from Mr. Davies's Collected Poems; to The Four Seas Company, Boston, for
"Images" by Richard Aldington from Images Old and New by Richard Alding-
ton, copyright, 1916, by The Four Seas Company and reprinted by their
permission; to Charles Scribner's Sons and the author for E. A. Robinson's
"Richard Cory" from The Children of the Night, by permission of the author
and the publishers.

For copyrighted pictures reproduced as illustrations, thanks are due to Mr.
Victor Albright for the cut on page 142 from his Shaksperian Stage; to Duffield
and Company for the cut on page 76 from C. M. Gayley's Plays of Our Fore-
fathers; to Mr. Maurice Goldberg for the picture on page 400, from Eugene
O'Neill's dramatization of "The Ancient Mariner"; to Mr. Pirie MacDonald
for the picture on page 671; to the Chicago Daily News for the picture on
page 680; to Mr. Eugene Hutchinson for the pictures on pages 664, 674, and
751; to the Chicago Daily Tribune for the pictures on pages 672 and 746,
copyrighted by E. O. Hoppe; to Charles Scribner's Sons for the picture on
page 677; and to Mr. Ewing Galloway for the pictures on pages 262, 317, 394,
471, 533, 545, 669, 674, 678, 681, and 682.

2910.13

Copyright 1927

in the Philippine Islands

by

SCOTT, FORESMAN AND COMPANY

All rights reserved

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The present volume is designed for the last year of the secondary school course in literature. It has been prepared in accordance with certain principles that have governed the entire series, and, like the other volumes, is the result of many years' thought and experience. The books in the series are not merely anthologies, in which selections have been inserted according to gradation or type or any other casual plan, but seek to gain results that are quite beyond the scope both of the usual volume of selections and of a course based on editions of separate classics. A re-statement of the principles of choice and organization is suggested by the completion of the series.

1. The course in literature in the secondary school should not be technical, planned by scholars for those who are to be experts in literary history, linguistics, or criticism, but humanistic, the chief means for supplying that introduction to the mind of the past that is necessary to a well-rounded education. In the secondary school, as in the college, modern tendencies toward specialization carry possibilities of evil as well as good. Not only has the number of subjects in the curriculum increased enormously, but it has become the habit of each specialist to look to his subject-matter rather than to his pupils for the determination of his method. In the case of literature this means that many editions of the classics are prepared from the point of view of the specialist and stress technical erudition rather than the needs of youth.

2. Those who avoid the evil of technical scholarship may fall into the

error of supposing that literature serves no other purpose than that of pleasure or aesthetic enjoyment, thus losing entirely the discipline of humane letters. With the loss of the influence of the classics, we need something that will represent to our generation what earlier periods found in Latin and Greek. Now the liberalizing effect of classical humanism consisted in the fact that it helped prepare the way for the modern idea of progress; it showed men that they could recover the achievements of past ages and build on these foundations a modern civilization. Out of the philosophy, history, and literature of the ancient world came the intellectual awakening that was the prelude of the Renaissance. Translated into present-day conditions, this means that in literature in the English tongue, both that which is native English and that which has been translated from other languages, we have even richer stores to draw upon than those who lived at the time of the revival of learning. We have our own great tradition; we are not limited to the tradition of Greece and Rome. Literature, therefore, is not an aesthetic and pleasure-giving subject alone, any more than it is a field for philological and historical learning alone. Rightly used, it supplies a humane discipline fit to take the place of the old classical scholarship.

3. A third error is to regard the classics, ancient and modern, as out of date and remote from present interests. There has been a tendency to make the popular magazine, the newspaper, and contemporary oneact plays take the place of all other

writings except perhaps the dramas of Shakespeare. But the true attitude toward contemporary literature is to see that, where worthily done, it is a manifestation of the same impulse that produced Shakespeare's dramas and Milton's epic. We do not outgrow literature as we outgrow the scientific knowledge of past generations. Whether it was written yesterday or a thousand years ago, literature is an expression of the changeless soul of man. Contemporary literature. should find an important place in the course of study, but not as a dessert or as a sop to take the curse off Addison and Wordsworth. Neither the course that stops with Browning nor the course that begins with Kipling can meet the requirements.

4. The course in literature set forth in these books had its origin in the query as to what ends should be kept in view by those who wish to make literature a vital element in a liberal education. The pupil was the first consideration, not the philologist or literary historian or critic. Plato's scheme of liberal education was designed for those who were to be what he called "the future rulers." For these future rulers of our American democracy we should supply through literature as well as through other subjects the training set forth in Plato's ideal. This training, it has recently been said, sought to "develop power of independent thought, open up the secrets of the universe, and teach the intellectual love of God." In such a program the wholesome recreation that comes through reading, and the interest and pungency of contemporary writing, should find large place, but not at the expense of an intellectual discipline that can be gained only through our modern humanities.

5. It was found that the experience of teachers had gathered a fairly large

body of representative literature that the great majority agreed should be drawn upon for the course. It was also found that emphasis was correctly placed upon this literature, not upon books about literature. The chief difficulty was in the organization of the material to be read. This material must be abundant, and it should be presented in such a way as to give something of the definiteness of method to the study of literature that has been developed in other subjects, such as science, mathematics, and English composition. That is, the loosely planned course in standard literature, in which the pupil could not possibly have any adequate idea about the reasons for the choice of books and lacked all means for testing his own advance, must give place to a course in which progressive method is apparent. Abundance of choice material is also of importance because of the lack in too many homes of the proper amount and quality of reading matter for eager young minds. It has been, therefore, a definite purpose of this series to supply even more material than can be studied in detail in class. Chosen carefully, and presented in attractive guise, there is no need for fearing that it will not be read.

6. The organization of the course is made clear by a number of devices. First, the business of the pupil is to learn to read. This he is helped to do through special introductions that direct his attention to the value of reading and the methods by which skill may be attained, and by numerous exercises that train the power of observation and of independent thought. Second, the subject of study is the great Book of Literature itself. What this means is explained in many ways, in all the volumes making up this series. The selections

themselves are chapters or paragraphs or songs in this greater volume, the product of the human spirit in all ages, a chief source for opening up the secrets of the universe. This means that in the earlier parts of the course we are less concerned with literary chronology and history and even with biography than is the case with a course based on a manual of history or a succession of separately edited masterpieces. Types of literature, lives of authors, characteristics of great literary periods all have due place, but knowledge of these is built up gradually, is fixed through cross references and reviews, and is made easy of acquisition because the plan of distribution through the four years was thought out in advance.

In the present volume the fruits of the systematic preparation will be apparent. The chief purpose, here, is to set forth the great tradition of our literature. History and chronology and the evolution of great periods are necessary elements. But what would be a very difficult task is here made easier through what has gone before. Teachers who have tried it know the futility of the plan of imposing on fourth-year pupils textbooks of literary history for which they have not been prepared in advance. For the history of literature differs from political history in a very important respect. In the ordinary history of the United States or of England the subject is complete in itself; there is nothing for the pupil to do but to learn the facts set forth in his text and to interpret them as best he may. But with the history of literature the case is altered. There is very little, if any, value in memorizing dates of publication, lists of books and poems, and facts of the lives of authors, unless this material is supplementary to direct contact with the books and poems that make up the body of liter

ature. To require memorizing of such facts without the accompanying study of the literature is worse than futile, for it is based on an entire misapprehension of the problem involved.

For this reason we have placed the history of American literature in the second year, following the usual extensive study, in the upper grammar grades, and the first year of the highschool course, of selections from American authors. We have thus cleared the way for a preparatory study of the development of the more complex and longer English literature in the third year, to be followed, in this fourth book, by a more formal and orderly treatment accompanied by an abundance of illustrative material. In such a way, and only in such a way, may the history of literature become a vital element in the training of the high-school pupil.

The cumulative nature of the treatment of literature in the four books of the series may be illustrated in still other ways. In earlier books of the series, types of literature like the ballad, the novel, the essay, the epic, the drama, have been studied. Representative works of a considerable number of great authors have also been studied. Thus, various aspects of Shakespeare's genius have been presented in each of the preceding books. This progressive study of Shakespeare has taken the place of the usual repetitions of the biography in separate editions of the plays, so that the pupil is now ready for a much more mature presentation of Shakespearean tragedy than would otherwise be possible. Again, great periods, such as those of chivalry and romance, the English Renaissance, and the eighteenth century, have been studied in Book Three, though from a wholly different point of view from that of systematic history, and this acquaint

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