Elson Grammer School Literature, book 4 | Page 3

therefore be a study of literature, and it should lead the children to find beauty of thought and imagery, fitness in figures of speech, and delicate shades of meaning in words. Literature is an art, and the chief aim of the reading lesson is to discover and interpret its art qualities. In this way children learn how to read books and are enabled to appreciate the literary treasures of the race. The business of the reading book is to furnish the best available material for this purpose.
It is worth while to make a thorough study of a few well-chosen selections. Through the power gained in this way children are enabled to interpret and enjoy other selections without the aid of the teacher. If the class work is for the most part of the intensive kind, the pupils will read the remaining lessons alone for sheer pleasure, which is at once the secret and goal of good teaching in literature. Moreover, they will exercise a discriminating taste and judgment in their choice of reading matter. To love good literature, to find pleasure in reading it and to gain power to choose it with discrimination are the supreme ends to be attained by the reading lesson. For this reason, some selections should be read many times for the pleasure they give the children. In music the teacher sometimes calls for expressions of preference among songs: "What song shall we sing, children?" So in reading, "What selection shall we read?" is a good question for the teacher to ask frequently. Thus children come to make familiar friends of some of the stories and poems, and find genuine enjoyment in reading these again and again.
Good results may also be obtained by assigning to a pupil a particular lesson which he is expected to prepare. On a given day he will read to the class the selection assigned to him. The orations are especially suited to this mode of treatment. The pupil who can read one selection well has gone a long way toward being a good reader. The teacher who said to her pupils, "I shall read to you tomorrow," recognized this truth and knew the value of an occasional exercise of that kind. Good pedagogy approves of a judicious use of methods of imitation in teaching reading.
The biographies are intended to acquaint the children with the personal characteristics and lives of the authors, making them more interesting and real to the children, giving them the human touch and incidentally furnishing helpful data for interpreting their writings. In this connection, the authors have, by permission, drawn freely from Professor Newcomer's English and American Literatures. "Helps to Study" include questions and notes designed to stimulate inquiry on the part of pupils and to suggest fruitful lines of study. Only a few points are suggested, to indicate the way, and no attempt is made to cover the ground adequately; this remains for the teacher to do.
While placing emphasis primarily on the thought-getting process the formalities of thought-giving must not be overlooked. The technique of reading, though always subordinate and secondary to the mastery of the thought, nevertheless claims constant and careful attention. Good reading requires clear enunciation and correct pronunciation and these can be secured only when the teacher steadily insists upon them. The increase of foreign elements in our school population and the influence of these upon clearness and accuracy of speech furnish added reason for attention to these details. Special drill exercises should be given and the habit of using the dictionary freely should be firmly established in pupils. The ready use of the dictionary and other reference books for pronunciation and meaning of words, for historical and mythical allusions should be steadily cultivated. Without doubt much of the reading accepted in the public schools is seriously deficient in these particulars. The art of good reading can be cultivated by judicious training and the school should spare no pains to realize this result.
Professor Clark, in his book on "How to Teach Reading," sets forth the four elements of vocal expression--Time, Pitch, Quality and Force. We quote a few of the sentences from his treatment of each of these elementary topics.
"I. TIME. Time, then, refers to the rate of vocal movement. It may be fast, or moderate, or slow, according to the amount of what may be called the collateral thinking accompanying the reading, of any given passage. To put it another way: a phrase is read slowly because it means much; because the thought is large, sublime, deep. The collateral thinking may be revealed by an expansive paraphrase. For instance, in the lines
"Not a drum was heard, not a funeral note As his corse to the rampart we hurried,"
why do we read slowly? The paraphrase answers the question. It was midnight. There lay our