Compare _Silas Marner_ in these five particulars with _Ivanhoe_ and with _The Vicar of Wakefield_.

II. THE TEACHING OF NARRATIVE POETRY

Much has been said, and said with force, about the impossibility of _teaching_ literature. But while many believe that certain kinds of literature can be taught with marked success, they are apt to feel the force of the above contention when they attempt to teach poetry.

It is, of course, comparatively easy to make clear the main idea of a poem, the facts of the plot, the details of the setting, and the characteristics of the actors; but the score of artistic touches that make the poem great cannot be taught, any more than can the beauty of a flower. To be sure, some pupils may appreciate these touches, and appreciate them because of the instruction they receive, but, on the other hand, others never will in spite of all aid and encouragement. It should not for a moment be forgotten, however, that the matters that can be taught are by no means inconsiderable. The language must often be explained; the thought, buried in involved sentences, must be simplified; and the unfamiliar or abstract ideas must be illuminated by ill.u.s.tration. There are doubtless some ideas in poetry that cannot be explained in words, but most of the obstacles that pupils meet with may be smoothed away, if only the difficulty is perceived.

The task of the teacher is, first, to put himself and his cla.s.s into the atmosphere of the poem. Then the events of the narrative, the idea of the lyric, the characteristics of the setting, and the individualities of the various actors must be clearly brought out. Studies must be suggested that will make the pupil read over and think over, again and again, the words of the poet. Lastly, by reading aloud and by devices which may defy a.n.a.lysis, but which will suggest themselves to teachers who, enthusiastic themselves, desire to inspire others, the cla.s.s must be made to _feel_ the truth and beauty of the poem.

NARRATIVE POETRY

A narrative in verse is not essentially different from a narrative in prose. The content is still the important feature, but form demands far more attention than it does in prose. More care must be given to the first and second readings of a poem than of a novel, since certain difficulties of form and language cannot so readily be left to the student himself to master.

The comprehensive study will follow the same lines as in the prose narrative;--setting, plot, characters, central idea, and form. Before beginning certain poems, the teacher should bring up briefly some preliminary topics for the purpose of interesting the cla.s.s in what they are about to study. A half-hour's talk at this point may be of the greatest value, if it is strictly a preparation for the work in hand. It is a mistaken kindness to tell pupils, in advance, the story of a poem, but whatever will give them more interest in beginning the work, or a better understanding as they proceed, is legitimate and desirable.

OUTLINE FOR THE STUDY OF NARRATIVE POETRY

I. Preparation

Such facts must be presented as will make the first reading intelligible, and put the cla.s.s into the atmosphere of the poem.

II. A Rapid Reading

This reading of the poem must be accompanied by general suggestive questions and explanations. A part of the first reading should probably be a.s.signed for home work, but the more important pa.s.sages, at least, should be read in cla.s.s by the teacher, or by some good reader among the pupils.

III. A Careful Reading

The main purpose of this reading is to gain an understanding of the poem. It will include a thorough but not exhaustive study of its details; the best pa.s.sages may be read aloud, and choice selections committed to memory. Then should follow a brief practical study of meter, with cla.s.s discussions to interpret the thought of the author.

IV. Study of the Poem as a Whole

A. _Content_

1. Setting

2. Plot

3. Characters

4. Central idea

5. Method of narration

B. _Form_

1. Structure

2. Meter

3. Style

C. _The Life and Character of the Author_

OUTLINE FOR THE STUDY OF THE LADY OF THE LAKE

I. Preparation

The introductory work that the teacher is required to do for his cla.s.s depends upon the conditions: the age of the pupils, their previous reading, etc. The following topics are suggested as suitable for the double purpose that we have in mind: arousing the interest of the cla.s.s, and supplying necessary information.

1. A brief account of Scott's ancestry to show his connection with the Highland clans.

2. Some facts of Scott's boyhood to show his enthusiasm for outdoor life, for deeds of daring, for old Scotch legends.

3. The story that Lockhart tells in his life of Scott[1] (p. 266), of how tired soldiers were aroused by a recital of _The Battle of Beal an Duine_.

4. A short account of the Scottish lake region, with map.

5. A very few facts concerning James V and the Douglas family.

II. A Rapid Reading

This is for the purpose of getting the main facts of the story. It may be done partly by the teacher[2] and partly by the cla.s.s out of school.

A short time in every recitation period should be taken for a running fire of questions to make sure that the cla.s.s understand the plot. The questions ought to be simple matters of fact which a first reading should reveal.

III. A Careful Reading

The cla.s.s should now be ready to enjoy a second reading with whatever study of words, figures of speech, meter, etc., is necessary together with the memorizing of a considerable amount. The following questions are intended to suggest the kind of work that ought to be done with young pupils:

1. Canto I, line 47. Explain "tainted gale."

2. " " " 54-63. To which of the senses does Scott appeal?

3. " " " 54-63. Point out the words that are most effective.

4. " " " 69. What is the hurricane?