Teachers Outlines for Studies in English | Page 8

flow of her story
to make explanations for our benefit (for example, pp. 100-101).
STYLE.--Does the author use the language of her own time?
To what extent does she make use of dialect?
Is the language of the characters consistent with the author's description
of them? Note the difference in choice of words and grace of
expression when the author speaks in her own person, and when she
speaks through the mouth of one of her characters.
Find passages that express humor (pp. 201-203), pathos (pp. 67-69),
satire (pp. 184-185).
THE LIFE AND CHARACTER OF THE AUTHOR.--What do we
know of George Eliot's early home? education? religious experiences?
life while manager of the house at Griff? life at Coventry? early literary
work? first attempt at novel writing? success as a novelist?
Would you judge from this book that she was fond of social life?
simple country life? animals? children? books? Give your reasons.
How do you suppose she knew how to describe the horse sale? the
evening at the Rainbow?
COMPARISON.--Is our interest in this book chiefly in the setting? in
the plot? in the characters? in the idea? in the style? or in all of these
factors equally?
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
illustration. 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 class 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 analysis, but which will suggest themselves to teachers who,
enthusiastic themselves, desire to inspire others, the class 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 class 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 class 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 assigned for home work, but the more important passages, at least,
should be read in class by the teacher, or by some good reader among
the pupils.
III. A