Modern English

M ODERN E NGLI SH
BOO K ONE
ELEMENTA R Y LESSONS IN ENGLISH
H EN R Y P . E M ER SON
S UP I T D T
ER N EN EN OF
‘’
E D U C KT I O N , B UFF A LO , N J .
A ND
I DA O . B ENDE R
S UP I
ER V SOR OF P IM Y
R AR GR A D ES, B UFF A LO , N Y .
.
Nt h) g oth
T H E M A C M IL LA N C O M PA NY
LO NDO N : M A C MILLA N 8: C O .
, lzw .
1 90 8
599793
C
'
CO PY I T
R GH , 1906
BY T HE M A C M ILL A N C O M PA NY .
Se t l
u p a n d e e ct ro t y p d P bl
e u xs h ed Febr ua ry , 1 90 6 . R e p rin ted
c p il M ch O c
. ,
M a r h, A r , 1 90 6; ar , to be r , 1 90 7 Ja n u a ry A u g u st,
Se p te mbe r , De ce mbe r , 1 90 8 .
vi P R E F A CE
an c e wi th thi s plan , to th e en d th at child r en may vi e w

lan guage less as a n u n r elated b r an ch o f stu dy th an as a
u n i fy i n g m ed i u m fo r all sch o o l stu d i es and o t o f sch o o l

u - -
ex p eri en ces I n d evelo pi n g th e plan , th e

. au th o r s h av e
so u gh t to keep i n clo se sym path y wi th th e chi ld mi n d
and h eart .
I t i s beli ev ed that th e meth o d of

p r esen tati o n will be
f o un d si mple, n atu r al, efiec ti v e. I n ter esti n g qu esti o n s to
be th o u gh t o ut d uri ng a si len t stu d
y p e ri o d o r di scu s sed
wi th th e teach er p r epar e th e m in d t o r ecei v e d efin i ti o n ,
r u le, o r pr i n ci ple, o r to j
en o y a selec ti o n so o n to f o llo w .
A ppli cati o n o f the k n o wled ge gai n ed o r feeli ngs a r o used

i s th en m ad e i n v ari o us way s, as i n c o pyi n g, wri ti n g fr o m
di ctati o n , i n o ri gi n al o r al o r wr i tten co mpo si ti o n , o r in
stu d y i n g a n d memo r i z i ng selec ti o n s .
M uch a tten ti o n i s gi v en to th e c ulti vati o n o f th e i magi

n ati o n , o u acc o un t o f i ts r ea cti o n bo th upo n lan gu age an d
u po n li fe.
T h r o u gh o ut th e bo o k th e p r eemin en t impo rtan ce o f

o r al p ra c ti ce i s r eco gn i z ed T h e ear i s to o o ften a n eg
.
lected fa cto r i n lan gu age teach i n g . S electi o n s h a v e been

i n tr o d u ced wh i ch th e teacher i s to r ead to th e pu pi ls to
tr ai n th em to a p er cepti o n o f n i ce lan gu age v alu es . Er e
qu en t w o r d stu di es requ i r e u
p p i ls to r ep eat alo u d th e
co r r ect fo r ms of r o n o u n s a n d o f str o n g v erbs m o st co m

p
m o n ly m i su sed . P up ils a re d i r ected to cr i ti ci se th eir o wn
lan gu age as r egar d s n o t o n ly th e i n ter est of th e th o u gh t
ex pr essed i n i t, b ut th e qu ali ty o f i ts so un d also .
H o e re
m a d i n gs a r e i n d i ca ted G r ea t c a r e h as bee
.n
tak en i n th e pr epar ati o n of th e li sts submi tted , th at th e

vi i i P R E FA C E
T he au th o rs make grateful ackn o wledgment o f th ei r

d ebt to M i ss E li z abeth C o n kli n g M acki n stry, wh o en ter ed
h ea r tily i n to th e sp i r i t o f this bo o k an d wh o se d eligh tful
p i tu r es o f ch i ld li fe, th ey beli ev e, co n tr i bu te r eatl t o
c
g y
i ts i n ter est an d v alu e.
T he selecti o n s f r o m th e wri ti n gs o f H en ry W Lo n g .
fello w, R alph W ald o E mer so n James R ussell Lo well,

,
T h o m a s B a iley A ld r i ch , E d m u n d C la r en ce Sted man , Ja mes

T . F i eld s, A n ni e F i eld s, H elen G r ay C o n e, an d La fcad i o
H ea rn by per mi ssi o n
ar e u sed o f an d by sp eci al a rr an ge
men t wi th H o u gh to n , M i flli n C o mpan y, th e au tho riz ed
p u bli sh ers o f wo r ks o f th ese auth o rs
th e .
A selecti o n f r o m th e wri ti n gs o f R i cha r d H en ry S to d

d ar d i s u sed by speci al a r ran gem en t wi th C h ar les S erib
’
n er s S o n s wh o p u bli sh co py r i ght ed i ti o n s o f th e wo rk s
,
of th a t a u th o r .
T he selecti o n s fr o m the wr i ti n gs o f
Ella Hi ggi nso n an d
v a ri o u s o th er a u th o r s a re u sed by p ermi ssi o n o f th ese
auth o r s an d th ei r publi sh er s, T h e M acm i llan C o mp an y .
A selecti o n f ro m the wr i tin gs of Helen H u n t Jackso n

is by perm i ssi o n o f Li ttle, B r o wn
u sed C c , an d o n e .
f r o m th e wri ti n gs o f H o wa r d A n gu s Kenn edy by p erm i s

si o n o f E P Du tto n
. . Co . T h e po em of H H Benn ett
. .
is u sed by p er m i ssi o n o f the au th o r an d of h is pu bli sh ers,

’
T he Yo u th s Co mp a n i o n .
T h a nk s a r e ex ten d ed fo r th e co u rtesi es i n di cated abo v e,
an d a r e also d u e th o se au th o r s who se wri ti n gs h ave been

used . but wh o ar e n o t i n clu d ed i n the fo r ego ing en u
mo r ati o n .
A ck n o wledgmen t i s co r di ally mad e to Mr A rthur Det.

ELEMENTA RY LESSONS IN ENGLISH
PA R T I
T u n: F u st S T P
E .
F IN DIN G A S T O R Y IN A PIC T UR E
What sto ry do es this pi cture tell yo u ?

Who are i n the pictur e ? Where are they ? Who
is h o ld in g the baby ? Wh at is the baby tryin g to
d o ? Wha t is the ma n do i n g ?
Has the pictur e a go o d n am e ? So metimes peo ple
use the wo r ds the fir st ste
p to m ean a begin ni n g
.
What first ste

p ar e y o u ta kin g in thi s lesso n ?
3 l
F I N D I N G P I C T UR E S I N WOR D S 8
BI NDIN G PIC T UR ES I N WOR DS

A utumn F ires
I n th e o th er gar d en s
A nd all up th e vale,
Fro m the autu mn bo nfires

See th e smo k e tr ail !
Pleasant summer o ver
A nd all th e su mmer flo wers,
T he red fir e blazes,
T h e gray sm o k e to wers .
Sin g a so n g o f seaso n s !
So meth i ng bri gh t i n all !

Flo wers i n th e sum mer,
Fires i n th e f all !
R O B E R T Lo urs ST E VE NSO N .
C b se yo ur
'
eyes and try to f i nd the wo rd p ictur es
-
while yo ur teacher r ea ds the p o em .
Wh ere are Ho w d o es the

the bo nfir es I? smo ke
trail What ma kes fir e blaze 5 Ho w do es

°
sm o ke
’
to wer 3 What makes the summer br ight ? Wh at
makes the fa ll br ight ?
R ead the p o em a lo u d to h elp so me o n e else see th e
wo rd pictur es
-
th at yo u fin d in it . L ear n i t by hea r t .
Wri tten Ex C op y the ver ses car ef ully T ake

erci se . .
ti me to wri te n eatly an d to spell ev ery wo rd co rrectly .
Word S tudy
Vale means valley . T o to wer means to r ise high .

4 E L E M E N T A R Y L E S S ON S IN E N GL I S H
SOME T HI NGS T O BE T A LKE D O VER
T h o ugh ts, Words, Language
“ Wha t do yo u think d o yo u thi nk Wha t

Do es yo ur teach er a sk thi s qu estio n o ften ? What
d o es sh e wish to fin d o u t when sh e a sks i t o f y o u ?
She wi sh es to fin d o ut y o ur th o ugh ts . Wh at do y ou
do wh en y o u tell h er wh at yo u thi nk ? Yo u ex pr ess
y o ur th o u ghts .
Ho w a re th o u ghts ex pr essed ? I n m an y ways .
L o o k a t the p ictu r e T he Fir st S tep Why do es .
th e man h o ld o u t h i s a rm s ? “ C o me, ba by l he
m ean s Do yo u thi n k th at th e baby u n d er stan ds ?
.
Do y o u ever ex pr ess a th o ugh t i n su ch a way ?

A fa m o us pain ter th o u gh t a grea t dea l abo ut co m
m o n people, what th ey do , ho w th ey liv e, h o w th ey
feel T o tell his tho u gh ts h e pai n ted m an y beau ti ful
.
pi ctu r es . T he F irst Step is o ne of th em He .
p ain ted i t to sh o wth e lo v i n g ca re whi ch kin d fathers

an d mo thers give t h eir little o n es .
A p o et sa w bright fir es glo win g when all the

flo wers were d ead T o ex press hi s tho u gh t he wro te
.
the pr etty v er ses, A u tumn Fir es Wh en y o u tell

what yo u th in k abo u t th e ba by, th e p i ctur e, th e
p o em,
yo u r bo nfir es, or an yt h in g else, yo u ex press
o u r th o u gh ts in th e wo rd s yo u spea k o r w r ite
y .
Yo u a re stu dy in g thi s li ttle bo o k to h elp yo u in

T H I N K I N G A N D E XP R E S S I N G T H O UGH T 5
th i nki ng and in ex pr essi ng y o ur th o ugh ts i n goo d

language . T h e lesso n s in it give
y o u m u ch will
r a cti ce i n talk i n g an d wr iti n
g a bo u t th in gs th a t a r e
p
in ter esti ng to bo ys a n d gir ls o f yo u r age T h ey will .
h elp yo u to fo r m the h abi t o f speak i ng a n d wri ti ng

E ngli sh co rrectly an d fr eely .
Wha t h av e y o u a n d yo ur tea cher talked o v er in

thi s lesso n ? T h o ugh ts, wo rd s, la nguage, a n d wi tho ut
th em yo u co uld n o t h ave ta lked to gether at all.
Wo rd S tudy
To em
p ress means to tell . E m esstng means telling .
T HINKIN G A ND E XPR ES SING T HO UGHT
I . T hi nk abo u t
1 . A blac k eat, a barkin g d o g, a wh i te h o r se .
2 . Flo wers, tr ees, bi r ds, squ ir r els, clo u d s .
3 . F ai r i es, gi an ts, py gm i es, d warf s, bro wn i es .
Do yo u care abo ut an y o f the a bo ve ? T ell abo u t

them A sk abo ut the o ther s
. .
II . Em
p r ess a tho ught abo ut
1 . A ri pe r ed apple . 4 . A pi ece o f sugar .
2 . T h e ba rk of a tr ee 5 . A beautif ul ro se .
3 . The sch o o l bell . 6 . A su mmer d ay.
When y o u use wo rds to ex pr ess a tho u ght abo ut
an ythi n g, yo u make a sentence.
M ake sen tences abo u t

fi ve thi ngs na med above.
A S T OR Y T O R E A D A N D T O T E L L
7
'
SE N T E NC E S C O M PL E T E T H O UG H T
Stu dy the sto ry onp a

ge 6 . If y o u r ea d th ese
wo r d s o n ly , A r thur was, i s th e tho u gh t a bo u t A r thu r
p la in ? Wha t m u st yo u a d d to m ak e th e th o u ght
p la in ? R ea d a lo u d the fir st gr o up of wo r d s exp r ess
i ng awho le o r co mplete th o u gh t .
Do th e wo r d s H e ha d n ever been , ,
ex
p ress a co m
plete
t h o u ght ? C o mp lete the tho ught .
R ea d ea ch
p fgr w
ouo r d s tha t ex r esses a co m lete
o
p p
tho ught . Wi th wh a t kin d o f letter d o es each gro up
begin ? A gro u p o f wo r d s ex pr essin g a co mplete
th o u gh t is ca lled a sent ence .
R emember . A sentence is a gr o up o f wo rds ex pressing a

co mplete th o ught .
Every wri tten sentence sh o uld begi n wi th a capi tal letter .
A S T O R Y T O R E A D A N D T O T E LL
ZE so p, th e gr eat sto ry teller, wa s a G r eek slav e. On ce h e

wa s sen t by h i s m aster o n a lo n g j o u rn ey . A s h e W as no t
str o n g, th e o th er slav es let h i m p i ck o u t th e lo ad th at h e was

to ca rr y . T o th ei r su r p r i se, E so p ch o se a ba sk et o f br ead .
T his was th e h eavi est lo ad of all, so th ey th o ugh t h i m very
f o o li sh . No on ca m e, a n d h alf th e br ead was eaten . A t th e

n ex t m eal all th e br ead was eaten , leav in g th e ba sk et empty
f o r th e r ema i n d er o f th e j o urn ey .
Who was I E so p ?
Z
Wher e wa s he sen t ? Wh at
did the o ther sla v es let hi m d o ? What d id E so
p
10 E L E M E N T A R Y L E S S ON S I N E N GL I S H
11
HO W N A M E S O F PE R S O N S A R E WR IT T EN
H ere is j g
a le t
inh a t so m e th i n k v er
y f un n
y H o w .
fa st can y o u sa
y i t an d
y et so un d ev er
y w o r d p la in l ?
y
P eter P i p er pi ck ed a p eek o f p i ckled p epper s ;
A p eek o f pi ckled p ep p er s P eter Pi per pi ck ed ;
I f P eter P i p er p i ck ed a p eek o f p i ckled p epp er s,
’
Wh ere s th e p eck of p i ck led p epper s P eter P i er
p p i ck ed ?
Wh at p er so n is n a m ed in the lin es pr in ted abo v e ?

Ho wman y wo r ds ar e ther e i n th e n a m e Wi th what
k in d of letter d o es ea ch wo r d i n th e n am e begin ?
R emember . Names of per so n s sh o uld begi n wi th capi tal
letters .
Oral Ex erci se .
— R ep ea t o therj g l s li ke tha t
in
e f
o
P eter P ip er , if yo u ca n . Wh a t go o d can co m e of
learn in g su ch j in gles ?
Wri tten Ex erci se . Wri te the f o llo wi ng na mes .
1 . Yo u r o wn n a me.
2 . Y o ur ’
f ath er s n a me .
’
3 . A gir l s n ame wh i ch y o u thi nk h as a p retty so u n d .
’
T h e bo y s n am e wh i ch y o u lik e best
4 . .
5 . T he n am e o f a p er so n wh o m y o u wi sh to be li ke wh en
y ou gr o w up .
6 . T he n a me o f o n e wh o m y o u lo ve d early .
W ord S tudy
To f o llo wmeans to co me a ter.

f F o llo wing mean s co mi ng a fi er .
N A M E S A N D IN I T I A L S — R E VI E W
12
NA M E S A N D I NIT IA LS
R o bert L o ui s S tev en so n wr o te p r ett y p o em s . S o m eti mes

y o u fin d h i s n a me p r i n ted R L S teven so n
. . . T h e letter s R L . .
stan d f o r th e n a m es R o ber t L o ui s .
’
T h e fir st letter of r so n s n am e is called
a pe an
i ni ti al . Wh at ki n d o f letter i s each in i ti al giv en

abo v e What m ark fo llo ws ea ch wh en u sed a lo n e ?
R emember . Every i niti al wr itten i nstead of a full name
sh o uld be fo llo wed by a per i o d .
Ex er ci se .
— What .
ar e
y o ur i n i tials ? Wh at are
’ ’
y o ur fath er s in iti als ? Yo u r m o th er s ? Yo u r
’
tea ch er s ?
S ho w on the blackbo a r d d ifier en t ways of wri ti ng
y o ur na me . C ho o se the best way to si gn yo u r n a me .
Wh at i s a sen ten ce
Wi th wh at ki n d o f letter sh o uld ev ery sen tence begi n
W h en y o u say I wh o m d o y o u m ean
,
H o w i s th e wo r d I wr i tten ?
Wro te or wr i tten ; wh i ch sh all y o u say i n th e sen ten ce,
ha s a letter ?
H o w sh o u ld n a mes o f
p e r so n s begin ?
Wh at is an i n i ti al ?
H o w sh o u ld i n i ti als be wri tten ?
What lan guage d o y o u spea k at sch o o l ? A t h o me ?
12 E LE M E N TA R Y L E S S ON S IN E N GL I S H
14
S OM ET HI N G PR ET T Y T o L E A R N BY H E A R T
T h e lily h as an ai r,
A n d th e sn o wd r o p a gr ace,
A n d th e s weet p ea a way,
’
A nd th e h ear t s -
ease a f ace,
’
Yet th er e s n o th i n g li k e th e r o se
When sh e blo ws .
C H R I S TI N A GE O R GI N A R O S S E TTI .
T h ese li n es ar e r eal
po etry , n o t m er e j i n gles wr itten
to a mu se yo u . In th em th e po et
pi ctures fo r y o u th e
lily h o ld i n g u i t h ea d r o u d l ; th at i s i ts a ir
as
p s p y .
T he sno wdr op d ro o ps m o destly ; th at is i ts grace .
weet p ea
w
T he s pu ts o u t i ts li ttle ten d r ils to ta ke h o ld
’
of o ur a ff ecti o n s th a t i s i ts T he hear t s ease,
y a y. -
;
th e pan sy, turn s i ts so ber f a ce to y o u But the r o se
.
i s th e qu een o f a ll the fl o wer s, so thin ks the po et .
Wh at fl o wer do yo u li ke best o f all ?

Wh at do yo u kn o w abo ut th e ti me wh en it blo s
so m s, o r blo ws, th e po et says ?
as H a s yo u r fl o wer
’
m o r e tha n one n a me, lik e the hear t s ease -
Oral Ex erci se . T ell a ll abo ut the fl o wer tha t yo u

like best .
Ex pressi o n by B and
C an y o u p ai n t o r dr awy o u r f av o r i te fl o wer ? C an i t be u sed
in a beau ti f u l pattern or d esi gn to be lo o k ed at i n th e d ay s wh en

fl o wers no lo n ger blo o m A n swer th ese questi o ns wi th y o ur
en cil o r brush, i f y o u
p can .
A F A R L E T o S T UD Y A N D T O T E L L 13
15
A FA BLE T O S T UDY A N D T O T E LL
O n e fin e d ay two cr abs cam e o ut f ro m th ei r h o me to walk

on th e san d .C h ild , sai d th e m o th er, y o u ar e walki n g
”
mo st u n gr acef ully . Yo u sh o u ld learn to walk str ai gh t fo r

war d with o u t twi sti n g f ro m si d e to si d e .
” “P ra
y, m o th er ,
”
sa i d the y o un g cr ab, set me th e ex am

ple, an d I w i ll f o l
lo w i t .
”
R ead this sto ry silen tly . It is o ne that JES Op to ld

m o re th an two th o usan d years ago Do yo u no t th in k .
th at a sto ry m ust be a go o d o n e to be remembered

so lo n g ?
I s th e sto ry a bo u t the cr ab an d i ts m o th er tru e ?
Yo u r teach er wi ll tell yo u what is tru e abo u t i t .
Wh at ar e sto r i es o f th i s k in d called ?
Do yo u kn o w h o w cr abs walk ? If n o t, yo u will

n o t see th e po in t o f th i s sto ry What do es ungr ace .
f u llymean ? What is it to set an ex am le

p
H o w m an y sen ten ces do es it ta ke to tell the sto ry ?
H o w d o es each sen ten ce begi n What mark do yo u
fin d at th e en d o f ea ch sen ten ce ?
Oral Ex er ci se . T ell the f able to the class, o r help

so me o ne else to tell i t by listeni ng p o li tely .
Wo rd S tudy
The cr a bs co me. The cr a bs ca me. T he cra bs ha ve co me .
R epeat th ese sen ten ces alo u d. M ak e th e senten ces tell mo r e

th an th ey d o no w . U se th e wo r d s, co me, ca me, ha ve co me, in
sen ten ces o f y o u r o wn . C o py th e sen ten ces .
S ta tements
S tu dy these sen tences

1 . B i r d s bui ld n ests. 3 . S qu i rr els h i de aco rn s.
2 . B ees m ak e h o ney . 4 . T he r abbi t i s ti mi d .
Ea ch of these sen ten ces i nf o rm s y o u abo u t

tells or
so m ethin g . With wh at kin d o f letter do es each sen

ten ce begin ? Wi th wh at m ar k d o es ea ch en d ?
Sen ten ces li ke th ese, which tell o r state so methin
g,
a re called statements .
R emember . A sentence th at tells so methi ng is called a
statement .
A peri o d sho uld be placed at the end o f every statement .
Oral Ex er ci se . M a ke sta temen ts a bo u t the f ol
lo wi ng
T h e tim e yo u leav e h o m e fo r sch o o l i n the m o r n in g ;
W hat y o u d o befo r e the sch o o l bell r i n gs ; wh at yo u
like to d o a fter scho o l ; o n Sa tu rd ay ; i n v a ca ti o n .
Wri tten Ex erci ses . I . C op y the sen tences gi ven at
the begi nn ing of this lesso n .
A dd to each sentence sta temen ts of yo u r o wn thus,
B i r d s bu i ld n ests . T h ey teach th ei r li ttle o n es to fl y .
II Wr i te sta tements a bo u t so me p et tha t yo u ha ve

.
o r wo uld like to o wn T ell wh at i t i s ; h o w i t lo o k s ;

.
what it do es ; why yo u like it ; wha t car e yo u giv e it .

WR I T T E N E XE R C I S E 15
A PI C T UR E A ND A ST O R Y
L ear n a ll tha t this p i ctur e ha s to tell yo u .
Wh er e do y o u th i n k t h e bo y s ar e ? W ha t
are th ey d o in g ? Wh at will th ey do n ex t?
Wh at lu ck d o yo u wi sh th em to hav e ?
M a ke up a sto ry to go wi th the p i ctur e .
Begin y o ur sto r y with th e

wo r ds :On e fin e d ay i n
En d i t by tellin g wh at lu ck
th e bo y s ha d , an d h o w they
felt a bo u t it .
Do n dt begi n an y sen ten ce wi th

th e wo r d a nd .
18
W R IT T E N E XE R C I SE
Wri te sen ten ces a bo u t an
r n o o n tha t yo u
af te
p s en t o ut
f
o do o rs . T ell wh en i t wa s ;
wh at ti me y o u left h o m e ;
wh ere yo u wen t ; wh o wen t with y o u ; what
d id ; wh at kin d of ti me yo u h a d .
E x pr ess wh at y o u h av e to say i n co m plete sen ten ces U se .
capi tal letter s an d p er i o d s p r o perly S pell y o u r wo r d s co rr ectly

. .
R ea d a lo u d wha t yo u ha ve wr i tten . Is i t an i n ter

esti n g sto ry ? H av e th e sen ten ces a plea si n
g so u n d ?
18 E L E ME N TA R Y L E S S O N S I N E N GLI S H
22
A N E XER C I S E I N O B S E R VA T I ON
T h e F i rst Wo rd of a Li ne of Po etry
N o tice ho w the li nes gi ven on

p a
ge 16 a re
p ri n ted.
Look at the li n es and at the fir st wo r d of each li ne .
With wha t k in d of letter d o es th e fir st wo r d o f each

lin e begi n ?
R emember . T h e fir st wo rd o f every li ne of poetr y sh o uld

begi n wi th a capi tal letter .
Wri tten Ex erci se . Wri te f r o m memo ry two or
mo r e lin es f po th t
o etr y
a y o u li ke .
Be sur e to spell a ll the wo r d s co r rectly .
Wo rd S tudy
P o em i s p r o n o un ced po em
'
.
P o et i s p r o n o un ced p o et
'
.
P o etry i s pr o n o un ced p o et ry
'
.
N am e a p o em th at y o u li k e .
N ame a p o et wh o se p i ctu re
y o u k no w wh en y o u see it
.
F o rei gn C h i ldren
Li ttle I n d i an , Si o ux or C ro w,
Li ttle f r o sty E ski mo ,
Y o u h av e cu r i o u s th i n gs to eat,
I am f ed on p r o per mea t ;
R H YM E S 19
Yo u mu st d well bey o n d th e fo am,

But I a m saf e an d li ve at h o me .
R O B E R T LO UI S S T E V E N S O N .
’
T h ese li n es ex press a Sco ttish ch i ld s th o ught abo ut
ch i ld ren li v in g i n co un tri es fa r a way .
Who m d o es the chi ld me i n th e first li n e ?

na
Wh a t d o th e wo rds fr o sty Eski mo ma ke yo u

th i n k of ? Wh a t do y o u kn o w a bo ut th e ho mes o f
In d i an s o r E ski m o s th a t seems cur i o us to yo u ? What
do y o u k n o w a bo u t th eir fo o d , th eir clo th in g ?
Wh at m igh t these fo r eign childr en say abo ut
y o u an d y o ur ways o f livi n g ? C an they th in k , I

am f
sa e a n d li v e at h o me Do th ey ex
p r ess th eir
th o u gh ts i n En glish sen ten ces a s yo u d o yo urs ?
Ora l Ex erci se . S ay a lo ud these wo r d s

1 . S i o ux or C r o w, E sk i mo .
2 . eat, meat .
3 . f o a m, h o m e .
N o tice the so u nd o f ea ch
p a ir o f wor ds . They
rh y mes .
Wo rd S tudy
T he wo rd S i o ux i s p r o n o un ced 8 56 .
’
F o reign means n o t belo ngi ng to o n e s o wn co un try.
(Wh
S te ven so n wr o te th ese li n es h e li ved i n S co tlan d .
)
C u r i o us mean s str a nge.
T o d well i n m ’
a place ean s to ha ve o ne s ho me in th at p lac e .
B eyo nd the f oa m means acr o ss the o cea n .
P rop er mea t mean s the r ight ki n d f f

o o o d.
Use th e wo rd s, f o reign, cur i o us, d well, at ho me, i n sen tences,

1 . Wh at is a statem en t ? W r i te th r ee statem en ts.
2 . Wh at m ark i s u sed at th e en d o f eac h statemen t ?

3 . U se i n sen ten ce s th e p h r a ses, at ho me, a t scho o l .
4 . R epeat f o u r li n es of p o etr
y .
5 . G i ve wo r d s th at rh
y m e wi th ho me, ea t, da rk, 1, tell,
a sk, la mp , slen d er, better , gi vi n g .
6 . P r o n o u n ce th e wo r d s, p o et, p o em, p o etry .
7 . T he tea cher ha s W h i ch wo rd , co me or ca me,
S h all y o u u se to fill th e blan k i n th i s sen ten ce ?
Is an y o n e a f r ai d to c r o ss th e br o ad A tlan ti c ? Wh o wi ll
go to L o n d o n ? Wh o car es to v i si t H o llan d wi th i ts can als ,
an d wi n d mi lls W h o wa nts to sail o n th e beau ti ful R h i n e

Wh o d a res to cli mb th e A lp s Wh o wo uld lik e to see th e
sunn y sk i es o f I taly
Wh at pla ces a r e n a med in th i s lesso n ? With what

kin d o f letter d o es ea ch n a m e begi n ?
R emember . Names of pla ces sho uld begi n wi th capi tal
letter s .
Wri tten Ex erci ses — I . C op y the n ames used abo ve .
II A dd five na m es u a n s ell co rr ectl

.
y o c
p y
C o un tr ies S ta tes C iti es Ocea n s L a kes R i vers
A mer i ca N ew Y o rk B ufialo A tlan ti c E ri e Ni agara

A N E XE R C I S E I N S T OR Y T E LL I N G
Q uesti o ns
Where are y o u go i ng ? M ay I go wi th y ou ?
T h ese sen ten ces do not m a ke sta tem en ts . T h ey

a sk qu esti o n s . With wh at kin d of letter do es eac h
begin ? Wh a t m ar k do y o u fin d a t th e en d o f ea ch ?
T h e mark i s so m eti m es ca lled a qu estio n m a rk
‘
I ts co rr ect n a m e i s i nterro gati o n po i nt .
R emember . A sentence th at ask s somethi ng is called a
qu esti o n A n i nter r o gati o n po i nt sho uld be placed at th e

en d o f every questi o n .
Wri tten Ex ercrses . I . C op y fi ve

questi o ns tha t
you fi nd i n the lesso n on

p a
ge 20 .
II Wr i te
.
q u esti o n s a bo u t
p er so ns o r thi ngs i n yo ur
scho o l . Begi n yo u r sen ten ces wi th : I s ther e, A r e
th er e ; Wha t is, Wha t a r e Wher e is, Wh er e ar e
Why i s, Why are Who is, Who are .
W h en y o u r ead sen ten ces begi n n i n g with th e wo r d s Is

there, A r e ther e, be sur e to say th e wo rd there plainly.
27
A N EXER C I S E IN S T O R Y T E LLING
A F ai thful S enti nel
Mo r e th an th r ee h un d r ed y ears a go , th e brave Pri n ce of
Oran ge co mman d ed th e D u tch a rmy in a war wi th th e S p an
iards . O ne n i gh t while th e P r i n ce an d hi s guards lay f as t

22 E L E M E N T AR Y L E S S ON S I N E N GL I S H
a sleep, si x h un d r ed S pan i sh so ld i er s br o k e i n to th ei r ca m p .
’
T he P r i n ce s li ttle d o g, a spa n i el, h ea r d th e str an ge f o o tstep s .
’
I mm ed i ately h e bega n scr atch i n g h i s m aster s f ac e to tell h i m
o f h i s d an ger T h e P r i n ce a wo k e, j u m ped u po n h i s h o r se, a n d
.
e scap ed wi th th e d o g i n th e d ark n ess, j ust as th e S pan i ar d s

bu r st i n to h i s ten t .
’
A f ter th e P ri n ce s d eath , a splen d i d to mb was bu ilt f o r
hi m In H o llan d . I f y o u go th er e to d ay , y o u wi ll fin d
-
on it a
statu e of th e P r i n ce, an d at h i s f eet a beauti f ully carv ed
i mage of h i s f a ithf u l sp a n i el .
A sk five questi o ns a bo u t the sto ry . T ell the sto ry .
Wo rd S tud y
A senti n el i s o n e who is on g ua rd to gi ve n o tice o

f d a nger .
ST A N Z A S
T he Wi nd
Wh o h as seen th e wi n d ?
N ei th er I no r y o u
But wh en th e leav es h an g trembli n g,

T h e wi n d i s p assi n g th ro ’
.
Wh o h as seen th e wi n d
N ei th er y o u no r I
But wh en th e trees bo w d o wn th eir
h ead s,
T he wi n d i s passi n g by
—C
.
H R I S T IN A GE O R G IN A R OSS ET T I
P R A C TI C E I N P R OP E R F O R M S OF S P E E C H 23
R ea d the p r etty p o em o n p age 22 What d o es it .
a sk an d tell a bo u t ? H o w m a n y times i s a questio n

a sked i n the po em ? N o ti ce ea ch qu estio n a nd the
rou of li n es gi vi n g the a nswer to i t E ach qu es
g p .
ti o n wi th th e li n es giv in g i ts a n swer fo r ms a stanz a .
R ea d the fi r st sta nz a . P i ctu r e to yo u rself, th e

lea v es h an g tr embli n g .
”
Wh a t kin d o f win d i s
blo win g
R ea d the seco n d sta nza . P icture to yo urself the
tr ees bo w d o wn th eir h ea ds . Wh a t kin d o f win d is
blo win g
R ea d the p o em alo u d . L ea r n i t by hea r t .
29
PR A C T I C E IN PR O P ER F O R M S O F S PEE C H
What qu esti o n fo r m s th e fir st li n e i n ea ch sta n za
of the po em ? A sk the sa me
qu esti o n a bo u t
T he clo u d s, th e sun , th e r a i n bo w, th e sun r i se, th e su n set,
th e mo o n , th e sta r s, th e n o r th er n li gh ts, th e Bi g Di pper, th e

Li ttle D i pper , th e S o u th ern C ro ss .
Wh at i s th e seco n d lin e in ea ch stan za o f th e po em ?

H o w do th e li nes di ffer ? Wh y ? Wh i ch fo rm i s th e
pro
p er o n e fo r y o u to u se i n spea ki n g to cla ssm a tes ?
Wri tten Ex erci se . A n swer the questio ns yo u asked ,
usi ng th ese gr o up s f
o wo r ds
I h ave seen I h av e n o t seen I have never
N ei th er y o u I h ave
‘
seen no r seen
24 E L E M E N T A R Y L E S S O N S I N E N GL I S H
30
WH A T T HE WI ND DO E S
Ho me R eadi ng .
If po ssible, r ead at ho me, in th e
ubli li brary, or a t sch o o l, o n e o f th e m n a m ed
p c po e s
belo w . Perh a ps so me o n e will rea d to yo u . M a ke

m in d wheth er lik e th e po em better
'
up yo ur y o u
th an M
’
iss R o ssetti s, T he Wind ”
.
T he Wi nd R o bert Lo u i s S teven so n .
Wi n d y N ights R o bert L o ui s S teven so n

—
.
Wi n
J
T he N ight d E u gen e F i eld .
The Wi nd a nd the M o on G eo r ge M acd o n ald

—Willi
.
The Wi nd in a F r o li c am H o wi tt .
What the Wi nds B ri n g E d mu nd C larenc e S ted man .
Wri tten Ex erci se . What do es th e win d do in the

ho use, i n the yar d, in city streets, in o rchar d s, i n th e
’
fields, in th e wo o ds, in bo ys games, i n th e sky, o n
th e sea , in H o llan d ?
Wr ite a ns wers telling wha t the wi nd d o es . R ead
the
m a lo ud . Do th ey h av e a plea sin g so un d ? Use
br ush o r scisso rs to illustr ate o n e an s wer, if yo u ca n .
31
P A R A G R A PH S
T he wmd an d th e sun were in h o t di spute T h ey co uld n o t .
settle wh i ch was th e str o n ger o f th e tw o T hey were abo u t to.
par t i n an ger w h en a tr a v eler c ame alo n g th e r o ad .
I kn o w h o w to settle th i s matter, cri ed th e sun

”
Do .
26 EL E M E N T A R Y L E S S O N S I N E N GL I S H
QUE ST IO N S T O B E A SKE D
R ea d these sen tences
1 . T hi s i s my si ster L o u i se .
2 . W e li ve i n th e co un try .
3 . Our f ath er o wn s a la r ge f a r m i n N e w J er sey .
e M o th er i s bu sy all d ay wi th th e h o usewo rk .
T h er e ar e si x ch ild r en i n th e f a mi ly
r
g .
g T he c hi ld r en a re a ll a t h o m e i n th e su m mer .
- J o hn
a
an d E lla go to co llege d u r i n g t he wi n ter .
o
c Wi ll an d I go to sc h o o l .
o
c L o u i se an d M ay a r e to o y o u n g to go to sch o o l .
10 . G ran d mo th er li v es wi th u s .
T he sen ten ces ar e sta tem en ts which li ttle bo y

a
mad e i n a ns wer to so m e q u esti o n s a sk ed b

y a d ea r
o ld lady . C an y o u tell fr o m th ese a n swer s wh a t th e

questi o n s wer e ? A sk as m a ny of them as yo u ca n .
Wri tten Ex erci ses . I . C op y the sen tences

gi ven
a bo ve .
II Wri te
. them f ro m di cta ti o n .
R E VIE W 27 .
- 34
T o ; T o o ; T wo
S tu dy these sen ten ces
1 . I go to ch u r ch E dn a i s to o y o u n g to go
. .
2 . Y o u go to sch o o l H ar r y i s to o o ld to go
. .
3 . We ar e go i n g to th e pi cn i c F ath er i s to o ti r ed to go
. .
4 . T h e two bo y s ar e go i n g to fish C an y o u go to o ? .
Wri tten Ex erci ses . I . C op y the a bo ve sen tences .
Wri te them f r o m d i cta ti o n .
II . F ill the blan ks i n the f o llo wing sen tences wi th

th e p r op er wo r d , to , to o , two
1 . I go sch o o l lear n .
2 . One i s n ev er o ld to lear n .
3 . H an s sp eak s lan gu ages, E n gli sh an d G erman .
’
4 . Do n t y o u wi sh y o u co uld d o th i s
I II . Use the a bo ve wo r ds in sen tences o
f yo ur
o wn .
35
R EVIE W
Wh at is a q u e sti o n A sk o n e.
Wh at mark sh o u ld be u sed af ter a wr i tten questi o n

H o w sh o u ld na mes of pla ce s b eg i n
N ame th r ee i n ter esti n g A m er i ca n ci ti es .
N ame f o u r places fa m o u s f o r beau ti f ul scenery .
‘
N ame th e capi tal o f y o ur state .
N ame th e lar gest ci ty i n y o ur state .
N a me th e c o u n tr y in wh i ch y ou li ve .
S h o w f ro m y o u r r ead er wh at a sta nza i s .
S h o w f r o m i t wh at a p a r a g p
r a h is
.
28 E L E M E N T A R Y L E S S ON S IN E N GL I S H
BE F
OR E T H E J UD GE .
Why do y o u th in k thi s pictu r e is ca lled Befo re

the Ju d ge Wha t place do es th e pi ctur e Sh o w?
Wh o is the tall man with the ch i ld ren ? Wh at do
y o u thin k th e ch i ldr en h av e been d o in g ? Why ?
Who i s th e J u dge 3 Do es h e like wh at the ch il
dr en h av e been d o in g ? Wh a t a r e the o th er children

do in g ? T ell the sto ry yo u find i n the p icture .
A N E XE R C I S E LN T H I N K I N G 29
‘
37
A N E XE R C I S E IN T H IN KIN G
C o mmand s
S tu dy these sen ten ces
1 . H an g up
°
y o u r h ats . 3 . T ake o ut y o u r bo o k s
2 . G o to y o u r seats. 4 . Be as still as m i ce .
T hese sen ten ces ar e n o t sta tem ents n o r qu esti o n s .
T h ey a r e co mma nd s T hey gi v e o r d er s wh i ch pupi ls

.
are to o bey . Wh a t co mman d i s giv en in the first

sen ten c e ? In th e seco n d ? In th e th i rd ? In th e
fo u r th ? With what kin d o f letter do es ea ch sen ten ce
begi n ? Wh a t m ark fo llo ws ea ch ?

Oral Ex erci ses . I . Thi nk o f co m ma nds tha t d i r ect
yo u to u se
yo u r han ds i n so m e way Fo ld yo u r
a s,
h a n ds . T h ese co m man d s m ay be o beyed by pupils
who m yo u n a me, i f yo ur tea ch er i s wi lli n g .
II . Thi n k o f a li vel ba ll
y ga m e . Wh a t co mm an ds
a re gi v en i n i t ? Who gi v es th em ? Who o beys
th em
III What . co m m a n d s do yo u o ften fin d on si gn s
po ste d o n g pl
ra sso ts, f en ces,
tr ees,
a t r a i lr o ad cr o ss
i n gs, on co u n ter s ho ld i n g fin e go o ds, o n street ca rs ?

To who m ar e th ese co mm an d s g i v en ? W h y a r e th e
Si gn s n eeded ? Ou ght th e co mm a n ds to be o beyed ?
Wri tten Ex erci ses . I Wri te five co mm a n d s hear d

.
a t scho o l to -
d ay .
II Wri te five co mma nds hear d

. on the str eet .
30 E L E M E N TA R Y L E S S ON S I N E N GL I S H
38
F A B LE
T h e mo u n tai n an d th e squ ir r el
H ad a q ua rr el,
A n d th e f o r mer called th e latter “ Li ttle Pr i ”

g ;
B un repli ed ,
Yo u ar e d o u btless v ery bi g ;
B ut all so r ts o f thi n gs an d weath er
M u st be tak en in to geth er,
T o mak e u p a y ea r
A nd a sph er e .
A n d I th i nk i t no d i sgrace
To o ccu py my p lace .
’
If I m n o t so lar ge as o
y ,u
Yo u ar e n o t so sm all as I,
A nd not h alf so spry .
’
I l l d en y y o u mak e
no t
A v ery p r etty squ i r r el tr ac k ;

T alents diff er ; all i s well a nd wi sely p u t ;
If I can n o t car ry f o r ests on my back,
”
N ei th er c an o u c ack a n ut
y
—R
r .
. W . EM ER SON .
R ea d the p o em silen tly to lea r n the sto ry . A bo ut

wh o m d o es i t tell ? Wha t d o es i t tell abo u t th em ?
In the th ir d li n e wh oi s m ean t by th e fo rmer ”
?
By “
th e la tter
”
? Wha t i s a p r ig ?
Who i s B un Which li n es of
’
Bu n s r e
l
py d o yo u
’
u n d er sta n d best ? Do yo u th i n k th at Bun s reply
en d ed th e qu a rr el ? D o es i t pro v e th at h e i s a
“ Li ttle Pr i ”
?
g
Is “
Fable a go o d n a me fo r th i s po em ? Why ?
T H E S T UD Y O F A F A B LE 31
Wo rd S tudy
Fi n d th ese lin es i n th e po em ; p ut i n th e o m i tted wo rds

’
If I m la rge as y ,
o u
Yo u a re sma ll a s I,
A nd ha lf sp r y .
To r ep ly mean s to a ns wer .
39
T H E S T UD Y O F A F A BLE
O n e v ery war m d ay i n a ut umn a fo x c a me u po n a fin e bun ch

of u
p pr le g p
r a es h an gi n g f r o m a vi n e . Wh at go o d luck l ”
ex clai med .
“ H er e’ th e v er th i n fo r whi ch I h a ve been
he s y g
lo o k in g .
”
W i th th at, h e to o k a gr ea t j ump ,
b ut j u st m i ssed
th e bun ch .
“ B etter lu ck n ex
”
t ti m e, h e sai d c h eerf ully , an d
ba ck to try aga i n
r an A ga i n an d a gai n h e tri ed to r each th e
.
tempti n g f rui t, but all i n v ai n A t la st h e gav e u p th e a ttempt,

.
say i n g :
“ Wh o ca r es T h ey ar e so u r , as every bo d y k n o ws .
”
R ea d this f a ble of T he F o x a nd the Gr ap es .
Wh a t d o es th e ph r a se i n va i n m ean ? Wh at d o th e
wo rds cheer u ll
f y a n d tem ti n
p g m ea n ?
Oral Ex er ci se . T ell the sto r y to so me o ne . In

telli n g the sto ry , do not begi n any sen ten ce with
and or then .
Word S tudy
T he f or sees . The f or sa w . Th e f or ha s seen .
He r un s. He ra n . H e ha s r un .
H e gi ves up . H e ga ve up . H e ha s gi ven up .
H e sa ys . H e sa i d . H e has sa id .
R epeat alo u d th e sen ten ces gi ven abo v e. A dd wo rd s to

make th em mean mo re .
40
F R UI T
Oral Ex erci se . Th i n k f
o the f r ui t tha t yo u li ke
best . Wh at is it ? Ho w m a n y of th e fo llo wi n g
q u estio n s can
y o u an s wer abo ut it ?
Wh ere d o es i t gr o w? H o w d o es i t gro w? Wh en d o es
it r i pen ? H o w d o es i t lo o k , f eel, ta ste, smell, wh en i t i s
r i pe W h at ar e i ts pa rt s ? Wh at i s th e use of each
H o w do yo u g et i t D o y o u car e fo r i t i n any o th er f o rm
th an as r i pe f r ui t ? Why
Wri tten Ex erci ses . I Wr i te the mo st i n ter esting

.
sta tem en ts yo u ca n thi n k of i n answer to the qu esti o ns

i ven a bo ve
g .
III ma gi ne tha t yo u go wi th f r i en ds to ga ther f r ui t

. .
T ell wh en an d wh ere y o u go ; wh at yo u pick ; h o w

yo u pi ck i t ; what yo u do wi th it .
41
A N EXER C I S E IN T H O UG H T E XPR E SS IO N
’
Nature s H elpers
A r e peach blo sso m s pr etty Is a r i pe p each d eli ci o u s

Wh at d o y o u d o wi th th e sto n e wh en yo u h ave eaten a p each
M o th er N atur e car es mo r e f o r th e sto n e th at y o u th r o w
away th an fo r th e pr etty blo sso m s o r th e d eli ci o u s f r u i t
. S he
kn o ws wh at p reci o us th i n g i s sto red away i n th e sto n e Do .
u k n o w h er secr et H av e y o u h elp ed h er by th r o wi n g th e
y o
sto n e away C an y o u tell h o w bi r d s an d squ i r rels h elp h er

H av e y o u learn ed h o w larger an i mals h elp h er ?
42
HOW A PO E T PA IN T S C O MM O N T HIN GS
Dand eli o ns
Upo n a sh o wery n i gh t an d sti ll,
Wi th o ut a so un d o f warni n g,
A tro o per ban d surp r i sed th e h i ll,
A n d h eld i t i n th e mo r n i n g .
We were no t waked by bugle n o tes,

No ch eer o u r d r eams i n vad ed ,
A n d y et, at d awn , th ei r yello w co ats
On th e green slo pes parad ed .
We car eless f o lk th e d eed f o rgo t ;

T ill o ne d ay , i d ly walki n g ,
We mark ed upo n th e self sa me S p o t
A cr o wd of v eter an s talk i n g .
T h ey sh o o k th eir tr embli n g h ead s an d
With pr i d e an d n o i seless laugh ter ;

Wh en well M ay !
,
-
th ey blew a way,
—
’
A nd ne re wer e h ear d o f aft er !
H E L EN G R A Y C ONE .
R ea d this p o em silen tly What . was the tr o o per

ban d What do es i t mean , to sur
p r ise a n d ho ld
a hi ll H o w a re so ldiers wak en ed i n th e mo r n i n g ?
What i s th e d a wn ? C an yo u pi ctur e to yo ur self h o w
this parade lo o k ed ?
Who are veter ans Wh at
mad e these v eterans
h
s a ke their head s ? What blew them away ? R ead
the li ttle p o em a lo u d .
R en a ud
FT I T Y G
.
A r Ho m e A ER r m: F RS VO A E .
45
W hat i s the n am e o f th i s pi ctu r e ? Who h a s c o me

ho m e H o w can yo u tell ? H o w do es h e feel abo ut
bei n g h er e ? H o w do yo u k no w? Wh at i s h e d o i n g ?
Who i s sittin g a t th e head o f the table ? H o w do es
sh e feel abo ut th e sa ilo r bo y
’
s r etu rn ? Wh o are the
o th er s i n the ro o m ? I s th i s a happy fa mily ?
Wh at k in d o f sen ten ces do yo u fin d in thi s lesso n ?
H o w d o es each sen ten ce begin ? Wi th what m ark
d o es each clo se ?
E XC L A M A T I O N S 87
46
Ex clamati o ns
Look the p i ctur e o n the o pp o si te p age Earli er in

at .
th e d ay , when th e chi ldren th o ugh t it abo ut time fo r

th e ir sailo r bro th er to arr i v e, th ey wa tch ed fo r him
ea gerly . Each one wan ted to be th e fir st to see hi m .
Presen tly, o ne o f th em ca u gh t si ght o f hi m an d bega n

to sh o ut . T he o th er s d i d th e sa m e, an d su ch a n o ise
as th er e was ! H er e i s what they sa id
H u rr ah ! h er e h e co m es !
H o w tall h e i s !
H o w br o wn h e lo o ks !
Wh at a bi g package h e h as !
M o th er, h e i s h er e !
R ea d a lo u d wha t the chi ldr en sa id . R ea d ea ch
sen ten ce j u st as y o u was said

th i n k it .
Do yo u thi n k th e chi ldren were ex cited wh en they

talk ed in th i s way ? Were th ey plea sed at their
’
br o th er s r etu rn ? What wo rd
m a kes yo u sure o f
this ? Wer e th ey sur pr ised at h is lo o ks ? Were th ey
cur i o u s a bo u t h i s pack a ge ? Ho w ca n yo u tell ?
R emember . The mark l
() i s called an ex clamati on po i nt .
It i s used after wor ds o r sentences that ex pr ess str o ng feelin g .
Wri tten Ex erci ses . I . C op y the sen tences tha t

’
exp r ess the chi ld r en s f eeli ngs when they sa w thei r
br o ther .
II . C op y f ro m yo ur r ead er
fi ve sen tences in which
an ex cla m ai
t o n p o i n t i s used .
TH E S T UD Y o r A P OE M 39
R ea d the p o em thr o ugh . It i s called T he La nd

”
o f S to ry Bo o ks
-
I s th a t . a go o d n a m e ? Is a r ea l
la n d d escri bed ? What i s th e pictu re d escribed i n

th e first stan za ? S hu t yo ur eyes an d try to see wha t
i s d escr ibed i n the nex t f o ur sta nz as . Wha t picture do
y o u get fro m th e la st sta n z a ?
Wha t do es a sco u t do ? I s p r o wled a go od wo rd
to u se wi th sco u t Wh y ?
Wh at do th e last two li n es o f th e po em mean ?
Wh o wro te th i s po em ? What o ther po ems di d he
wr ite ? What d o yo u thi n k o f thi s po et a s a wo rd
p a i n ter ? R ea d the p o em to so me o ne .
Wo rd S tudy
Wri te i n p ai r s th e wo r d s th at rhy me ; th u s, li t, si t .
N o ti ce p a rti c ula rly th o se th at rh

y m e but d i ffer much i n
sp elli n g ; a s, me, sea .
Ho me R ead i ng .
— H av e y ou a
“
lan d of Sto ry
bo o k s of y o u r o wn ?
Yo u sh o uld to gai n o n e a n d to make
begi n ea r ly
it a ri ch a n d bea utifu l co u n tr y I n S to rylan d yo u .
ar e al ways fin di n g pleasa n t co m pa ny, the

su r e of
co m pa n y o f fa v o r i te a n im a l fr ien d s, o f fai ri es a n d
o th er wo n der wo r k er s, o f k n i h ts a n d h er o es, an d o f
g
-
in terestin g li ttle peo ple like yo u r self .
On page 23 7 yo u will fin d a li st o f bo o k s th a t will

fu rn ish y o u wi th the fin est “
lan d of Sto ry bo o k s
-
an y bo y or
g i rl ca n h av e . Fr o m th is li st ch o o se a
bo o k to be r ea d at h o m e .
48
A N E XE R C I S E IN LI S T ENING
A F amo us S tory fro m th e Land of S tory Bo ok s-
1 . Ph aeth o n , so n o f H eli o s, was i n tear s . He co u ld o utd o
hi s sch o o lmates in every ga me th at bo y s d eli gh t to l

p y;
a
but h e co u ld n ot mak e h i s co mp a n i o n s beli eve th at h e wa s

r eally th e chi ld o f H eli o s, th e sun go d . T h at i s why h rs tea r s
were flo wi ng as h e lay alo n e, lo o k i n g at th e go ld en c h a ri o t
of h is f ath er i n th e d escen di n g sun .
2 . S u d d en ly h e sat u p . I wi ll go to my f ath er, ”

he cri ed,
an d a sk h i m to let me d ri v e h i s ‘
splen d i d ch a r i o t . Wh en
th ey see th at I h av e gui d ed i t f o r o n ly o n e d ay, th ese u nk i n d
bo y s sh all k n o w th at I am truly th e so n o f H eli o s .

”
3 . B ef o re d awn th e nex t d ay, P h aeth o n ’

reach ed h i s f ath er s
palace . T h ere h e f o un d H eli o s wi th all th e H o urs of th e d ay

atten d i n g hi m . H i s ch ar i o t was ready ; hi s h o r ses wer e r eady ,
n ei gh i n g an d sta mpi n g wi th
i m pati en ce to begi n th e j o ur n ey
o f th e d ay .
’
T h ro wi n g him self up o n h i s kn ees at h i s f ath er s
f eet, Ph aeth o n to ld h o w cru elly h i s co mpan i o n s tr eated h i m .
4 . H eli o s co uld not bear to see the bo y u nh ap py, a n d
r eadi ly pro mi sed to gran t wh atever Ph aeth o n sh o uld ask.
A la s ! h e li ttle d r eamed wh at th e rash h ad i n mi n d

yo uth .
’
d eli ghted at gai n i n g h i s f ath er s p ro mi se, at
5 . Ph aeth o n ,
o n ce begged th at h e mi gh t d ri v e th e go ld en ch ari o t o f th e
su n . T h en H eli o s grew v ery gr ave A h , my so n , my .
so n !
”
h e ex clai med, y o u kn o w n o t wh at y o u ask ! T h ese
steeds will o bey n o h an d n o r v o i ce but mi n e .
”
”
6 . B ut, f ath er , cr i ed P h aeth o n , d i d yo u n o t pro mi se to
do what I sh o uld as k T h us r emi n d ed , H eli o s gave w ay
an d Ph aeth o n, p ro ud an d h appy, to o k th e r ei n s .
7 What a scene fo llo wed ! T h e fiery ho rses,

. reari n g an d
42 E L E M E N T A R Y L E S S ON S I N E N GLI S H
49
T I T LE S O F PE R S ONS
R ead this no te ; then tell :

Wh o i s M i ss C lin to n Wh o is Jane R o ck well :
“
DE A R M I ss C L I N T O N ,
We had a vi si to r y ester d ay wh o m th e ch i ld r en lo v e
d early . It was th ei r gran d f ath er , C aptai n R o ck well . A f ter
sch o o l I to o k th e wh o le f a mi ly to C en tr al P ark . O n t hi s
acco un t; my d au ghter, P o lly R o ck well, d i d n o t co m plete h er
h o me wo rk . Wi ll y o u k i n d ly ex c u se h er f o r not h av i n g i t
S h e h a s p r o mi sed me to fin i sh i t f o r y o u .
Y o ur s v ery tr uly,
Jan e R o ckwell .
We speak of
’
M iss C li n to n , o f h er
Po lly s tea ch er as
mo ther a s M r s R o ck well, o f h er father a s M r R o ck

. .
well Po lly i s so metimes called M iss Po lly R o ck well,

.
an d h er li ttle br o ther Jo h n i s called M a ster Jo hn
R o ck well Her gr an dfa th er i s C ap tai n R o ckwell

. .
S tudy the wo r d s of the p r ecedi ng p aragr ap h tha t are

p r i n ted i n i ta li cs W o r d s used lik e th ese a r e ca lled
.
ti tles .With wh at k in d Of letter do es each ti tle he

g i n ? W ith w h at k i n d O f wo r d i s ea ch title u sed ?
R emember . A ti tle used with the name of a person sho u

l
d
begin wi th a capi tal letter .
Wri tten Ex erci se . C op y the no te car efid ly .
Wo rd S tudy .
T o p reced e mean s to go bef o re .
P reced i ng mean s go i ng bef o r e .
In co un ti n g, f o u r p r eced es fiv e ; si x f o llo ws five .

A B B R E VI A T I ON S 43
50
A B B R E VIA T IO N S
N o tice thef o llo wi ng on

p a
ge 42
M r is a sh o rt fo r m u sed fo r the wo rd M i ster

. .
M rs i s a sho rt fo r m u sed fo r th e wo r d M istr ess

. .
It is pro n o un ced M issis .
Sho rt fo r m s o f wo rd s ar e called abbrevi ati o ns .
Wha t m ar k is u sed a fter th e a bo ve abbreviati o ns ?

R emember . Every abbr evi ati o n sho uld be fo llo wed by a
per i o d .
Wri tten Ex erci se . C op y the f o llo wi ng sen ten ces .
F ill in the pro per titles an d n am es o f th e per so n s

m en tio n ed Use a bbrev ia tio n s
. an d i ni tials pro per ly
in yo u r sen ten ces .
1 . i s my f ath er .
2 . i s my mo th er .
i s th e p ri n ci pal o f th i s sch o o l.
i s my n a me an d ti tle .
Wh en I si gn my o wn n ame I do n o t u se th e ti tle
Word S tudy
To abbr evi a te mean s to sho r ten .
51
Names of Day s and of th e M o uth s
On the t page yo u will fin d th e ex erci se P o lly

n ex
R o ckwell wr o te Is i t co rrect i n spelli n g ? In th e u se

.
of ca pita l letter s, a bbr e v ia ti o n s, an d

per i o d s ? A re
the sta temen ts tru e ?
’
Po lly s Ex erci se
1 . A week h as sev en d ay s . T he n ames o f the day s of
th e week a nd th ei r a bbr evi ati o n s a r e :
S un d ay S un .
M o n day Mo n . T h u rsd ay T hur s .
T uesd ay T ues . F ri d ay Fr i .
Wed n esday Wed . S atu rd ay S at .
A yea r h as twelve mo n ths

2 . . T he na mes o f the mo n ths
an d th ei r abbr ev i ati o n s are
Jan ua ry J an . A u gust A ug .
F ebr uary F eb . S eptember Sept .
M arch M ar . O cto ber Oct .
N o vember No v .
D ecember Dec .
M ay , June , an d J uly h a ve n o a bbr ev i ati o n s. T h ei r n ames
ar e too sh o r t, an d I thi n k th at th e m o n th s th e mselv es ar e
to o sh o rt .
3
R ule
. The names o f the days
. of the week and of the
months o f the year should begi n wi th capi tal letters .
4 . T h e m ar k () z is ca lled a co lo n . T he mar k is
called a dash .
Yo ur Ex erci se
I Wh a t
. d o es r ule m ea n ? L earn the rule tha t
P o lly ha d i n her ex er cise . M a ke i t o ver i n to two r ules,
o ne fo r th e n a m es o f d a ys, th e o th er fo r th e na m es
of mo n ths . C op y the r u les i n to yo ur no tebo o k .
II . Wri te f o ur sen tences, each co n ta i ni n

g the n a m e
f
O a mo n th . Do n o t u se a bbr ev i a ti o n s .
III C op y i n or d er the na mes o f the d ays the

.
f
o
week an d o f the mo n ths f

O the yea r .
THE S T UD Y O F A P OE M 45
52
T H E S T UDY O F A PO EM
F o ur Leaf C lo ver
-
I kno w a p lace wh ere th e su n i s lik e go ld,
A n d th e ch er ry blo o m s bu r st wi th sn o w ,
A n d d o wn u nd er n eath i s th e lo veli est n o o k,
Wh ere th e f o ur leaf
-
clo vers gro w.
One lea f i s fo r h o pe, a n d o n e i s fo r fai th ,

A nd o n e i s f o r lo ve, y o u k n o w,
A n d G o d put an o th er i n f o r lu ck
I f y o u search , y o u wi ll fin d wher e they gr o w .
But y o u mu st h av e ho pe, and y o u must h ave fai th,

Yo u must lo ve an d be str o ng an d so —
If yo u wo rk, if y o u wai t, y o u wi ll find th e place
Wh ere th e fo ur leaf -
clo vers gr o w .
EL L A HI GG I N S O N .
R ea d the p o em H as clo v er ever mad e yo u thi n k

.
such bea u tifu l th o ugh ts as ar e ex pr essed in t he po em ?
Wha t is the sno w o f the cherry blo o ms Wha t

is a no o k Ho w man y leav es d o es clo v er co m m o n ly
h a ve ? Wh a t do es th e po et say abo u t each lea f ?
Wh y wa s an o th er leaf ad ded ? Ho w ca n yo u be sure
o f go o d fo rtu n e, ev en if yo u n ev er fin d a fo ur leaf -
clo v er ?
L ea rn the p o em by hear t, a nd ta ke to hear t the
lesso n of the la st sta nz a .
53
A Lesso n i n Po li teness
P resid ent Jeff erso n was a mo st si n cere and co ur teo u s man .
On e d ay wh i le r idin g wi th a gr a n d so n , h e met an o ld slav e
wh o r ai sed h i s bo wed po litely

cap an dJefferso n r etur n ed .
th e salute graci o usly, bu t h i s gr an d so n to o k n o n o ti ce O f i t .
T u rn i n g to th e bo y, h e sai d , T h o m as, d o y o u p er mi t a p o o r
slave to be mo r e o f a gen tleman th an y o u are
Wri tefive questi o ns a bo u t this sto ry . T ell the sto ry .
Wo rd S tudy
S i n cere mean s true, ho n est, witho u t afiecta ti o n .
C o u rteo us mean s p o li te, well bred -

.
S a lu te mean s a si gn f
o resp ect .
Gr acio usly mea n s ki n d ly, co ur teo usly.
54
C O MM O N A B BR E VIA T IO N S
Wri tten Ex erci ses . I C op y the abbr evi a ti o ns gi ven

.
i n this lesso n . Af ter each a bbrevi a ti o n wr i te w ha t i t

sta nd s f or thus,
Dr . D o cto r A ve . or A v A v enu e
.
R ev . R ev eren d St . S treet, S ain t

S u pt . Sup er i n ten d ent A . M . F o ren o o n
Jr . Ju n i o r P . M . A ftern o o n
Sr . S en i o r R R . R ai lr o ad
P . 0 . P o st o mce R . F . D . R ur al f r ee d eli very
U S . . U ni ted S tates 00 . C o un ty or C o mp an y
II C op y f ro m o ur a h the a bbr evi a ti o ns
.
y eo
g g r
p y
used f or yo ur sta te a n d f o r o ther sta tes in which yo u
i n ter ested f the car d i na l o i n ts

a re or p .
III . C op y f ro m yo u r a ri thmeti c ten a bbr evi a ti o ns,
a nd i e thei r mea ni ng
g v .
A N E XE R C I S E I N S T OR Y M A K I N G 47
A N EXE R C I S E I N S T O R Y M A KING
A Lo st C h i ld
Little May, a ged three fo llo ws h er bro th er to

sc h o o l lo st !
S tr an ge streets an d sights ki n d peo ple
—ibb qu es
’
ti o n s M o th er s n a me ? Mamma l r on
wi t h car d , ad d r ess f
sa e at ho m e .
B ef o r e telling the sto ry sketched a bo ve, thi n k clea r l

y
wha t to sa
y a bo u t ea ch o f the f o llo wi ng p o i n ts
1 . H o w M ay lo st h er way . 2 . W h er e sh e wan dered .
3 . W hat sh e saw . 4 . W h o tri ed to h elp h er .
5 . W h at qu esti o n s wer e asked 6 . . Wh at an swers she gave .
7 . H o w h er ad d r ess was f o un d .
8 . H o w sh e felt wh en sh e r eached h o me .
T ell the who le sto r y i n yo ur best la ngua ge DO . n ot
use and o r then a t th e begi nn in g o f sen ten ces .
Word S tudy
In telli n g y o ur sto ry, i f y o u wi sh to u se any fo r m o f th e

wo rd see, be sur e to pi ck o ut th e r i gh t o n e R emember th at .
seen can n ever be u sed alo n e ; i t mu st al way s go wi th one o f
th ese li ttle wo r d s : a m ,
i s, a r e, was, wer e, has, ha ve, ha d , been .
S he saw . S he has seen.
S he was seen . S he has been seen.
An a dd ress tells
’
en o n s nm and where ha o r she li va
a p
48 E L E M E N TA R Y L E S S O N S LN E N G L I S H
—5 6
O R AL R EVIEW
1 . A sky ro ck et sh o o ts i n to th e ai r . Gi ve an ex cla m a
ti o n y o u m i gh t u se o n seei n g i t .
2 W h at ma rk i s p laced af ter ex clamati o n s

.
3 Wh at th ree ti tles Of r esp ect ar e used mo st

. co mm o n ly ?
4 . W h i ch Of th ese belo n gs to y o ur m o th er Y o ur tea ch er
5U se th e
. ti tles d o cto r, gen er a l, sup er i n tenden t, r ever en d ,
wi th n ames o f p erso n s wh o m y o u k n o w o r kn o w abo u t .
6 . W hat ar e sh o rt f o rm s o f wo rd s called G i v e fiv e .
7 . W h at mark sh o uld f o llo w all such fo rm s ?

8 . Wh i ch names Of m o n th s ar e n o t abbrev i ated
9 . W h at ar e th e abbr evi ati o n s o f th ese wo rd s : str eet,
a venue, co un ty ; the na me of yo u r sta te, o f yo u r co u ntry 9
57
A B E A UT I F UL W O R D—
PI C T UR E
’
Octo ber turn ed my m a ple s leav es to go ld ;
T h e m o st are go n e n o w; h er e a n d th er e o n e li n ger s
S o o n th ese wi ll sli p f r o m o ut th e twi gs weak h o ld ,
’
’
Lik e co i n s between a d y i n g m i ser s fin ger s .
T H O M A S BA I L E Y AL D IC H
R .
Of what sea so n ar e th ese li n es a wo rd pi ctur e ?

-
Wh at i s i t to li nger Wh at a r e co i n s HO W mu ch
do es mi ser lo v e his go ld ?
a
N o ti ce the mar k a t the clo se of the fir st li ne . T he

mar k is called a semi co lo n . It i s u sed in stea d of a
per i od to sho w th at the wo r d pi cture

-
is n o t co m lete
p .
Oral Ex erci se . Wha t do y o u li ke abo u t th e fall

of th e year ? Thi nk of these two na mes, fall ,
s rin g !
p
E xp r ess the tho ughts which they br i ng to yo ur m i nd .
’
A B IR D S N EST 51
better , ask y o u rsel f su ch q u esti o n s as thi s : Who se

ball has ro lled i n to the gu tter ?
’
1 . B en s ba ll h as ro lled i n to th e gutter .
’
2 . I t i s N ed s tur n to la
p y .
’
3 . G eo r ge s lesso ns are k eep in g hi m at h o me .
’
4 . I s th i s D i ck s hat ?
’
5 . T h er e go es th e ba ll o v er M r J o h n so n
. s f e n ce !
Ho w is o wn ership or p o ssessio n sh o wn i n th e
recedi n g sen ten ces ?
p
II . S ho w the use o f
’ i n sen tences
s as f o llo ws
1 . A bo ut a bo o k , n a mi n g th e per so n wh o o wn s it .
2 . A bo ut a k ni fe, na mi n g wh o se it is .
3 . A bo ut a pen c il,
n a m i n g th e per so n to wh o m i t belo n gs .
4 . A bo ut a p i an o , sh o wi n g th a t y o ur mo th er i s i ts o wn er .
’
A BIR D S N E S T
H ere a r e so m e lin es fr o m an o ld , o ld
po em . Re
ad
a nd ta lk a bo u t them
’
B eh o ld a bir d s n est,
M ark i t well, wi th i n, wi th o ut !
N o to o l h ad h e th at wr o ugh t ,
no knif e to cut ;
NO n ai l to fix ; no bo dki n to i n sert ;
N O glue to j o i n ; h i s li ttle beak was a ll ;
A n d y et h o w n eatly fin i sh ed !
Wh at o ld -
fash io n ed wo rd s o ccu r in the lin es ?
Lo o k a bo ut fo r a v a can t n est . Is i t well bu ilt ?
D escr ibe i t i n yo ur o wn wo r ds .
“ 6m.“
T H E PR O M I D LA ND
SE .
E XE R C I S E I N D E S C R I P T I ON
62
T HE S T UDY O F A PI C T UR E
What is th e n a me of th e ch a r m i n g pi c tu re o n
page W 52 ?
hy d o y o u th i n k th e a r tist ch o se su ch
‘
a n ame Wh at i s th e seaso n o f the year ?

Wh ere ar e th e ch ildren ? What a r e th ey do in g ?
Do th ey li ke wh a t they see ? Wh ich children are
n ea r est to th e pa n e ? H OW ca n yo u tell ? C a n yo u
lear n W h a t lan gu a ge th ese li ttle o n es a re u si n g
D e J o u ets ar e F ren ch wo rd s. T h ey m ea n to ys .
Which are m o r e i n terested i n th e to ys, th e o ld er
ch ild r en or th e yo un ger o n es
Wh a t d o yo u see i n th e pi ctur e ?
o th er per so n s
Wh a t ar e th ey do in g ? Why a re they n o t lo o kin g

in to th e to y sh o p ?
63
E XE R C I S E I N DE S C R IPT I O N
T h er e ar e li ttle ch ildr en wh o ha v e n ever seen a to y

sh o p, n o r a pictu re, n o r ev en th e li gh t o f da
y . T h ey
a re blin d . Im agin e th at yo u ar e giv in g such a li ttle
ch i ld a d escr ipti o n of
th e pi ctu r e, T he Pro m ised
”
La n d C an yo u
. m ak e th e little o n e
see in i ts m in d
what yo u see in the pi ctu re ? C an yo u m ake i t lik e

the pi ctu r e as mu ch a s y o u d o ? T ell a bo u t .
1 . T he na me . 4 . T h e to y s an d th e p eo ple .
2 . T h e ti m e . 5 . H o w th e a r ti st f eels abo u t ch ild r en.
3 . T h e place . 6 . H o w y o u f eel abo u t th e pi ctur e .

64
WO R D S T UDY
I . Lo o k at T he P r o mised L a nd . R ep ea t a lo u d
T h e to y stan d s. T h e to y s stan d .
II . F r o m the f o llo wi ng sen ten ces r a i d a lo ud tho se

tha t tell a bo u t a si n
gle O bj ect i n the p i ctur e
1 . T h e gi r l pr esses h er f ace agai n st th e pan e .
2 . T h e gi rls pr ess th ei r f aces agai n st th e pan e .
3 . T h e man walk s . 4 . T h e men walk .
5 . T he wo man p asses . 6 . T he wo men p ass .
III Wh ich o f th e abo ve sen ten ces tell abo u t mo re

.
th an o n e Obj ec t in th e pi cture ? R ea d them alo ud

- .
IV . F ill the bla n ks i n the f o llo wi ng sen tences
1 . T h e gi r l F r en ch . 2 . T h e gi r ls F r en ch .
3 . She E n gli sh , to o . 4 . We E n gli sh .
5 . T h e child th e to y s . 6 . T h e child r en th e to y s .
65
P A R A G R A PH WR I T IN G
Wr i te a
p a r agr a h a bo u t
p C hr istmas gifts C ho o se .
o ne o f the fo llo wi n g gro ups o f wo rd s to gui de yo u .
I . To g wh o m d i d
i v e a C h r i st
ymo u
a s p r e s en t W h at
was i t !
Wh y di d y o u ch o o se t o g i v e thi s p a r ti cul ar thi n g
H o w di d th e per so n to wh o m y o u ga ve i t f eel abo u t r ecei v
i ng i t
II . T ell wh at y o u r wh eth er i t i s a
f a vo r i te to y i s ;
C h ri stmas gif t ; h o w i t lo o k s ; wha t i t d o es ; wh at ca re y o u
tak e O f i t ; wh at y o u ar e go ing to d o wi th i t i n th e f uture .
A S T OR Y TO R E R E A D A N D T OLD 55
A S T O R Y T O BE R E A D A N D T O LD
T h e Kin g an d th e C ak es
M an y, many y ear s ago , th ere li ved i n E n glan d a king so wi se

an d br av e an d go o d th at h e was c alled K i n g A lf r ed th e G r eat .
A lth o ugh a k i n g, h e h ad m any tr i als to bear .
O n ce, wh en h ard p r essed by th e D an es, th e E n gli sh

wh erd ’
ki n g so u gh t sh elter i n th e b u t of a co . T h e m an s
wi f e d id not k n o w th e k i ng . B ei n g o bli ged to lea ve th e

h o u se, sh e ask ed h i m to watch so me cak es th at were bak i n g
fo r sup per . T hi s th e k i n g r ead i l
y a gr eed to do , but no
so o n er h ad sh e go n e th an A lfr ed f o rgo t all abo ut th e c ak es
an d ev ery th i n g else ex cept th e tr o u bles of his c o u n tr

y .
P r esen tly th e wo man r etu r n ed an d f o un d h er cak es all
b urn t to a c r i sp ! S he sco ld ed th e k i n g so u n d ly , y o u may

be sur e, bu t h e sai d n ev er a wo r d in r eply . On ly to h i m self
he sai d ,
“ H o w ca n I be tr usted to ru le a k i n gd o m wi sely,
when I cann o t ev en k eep cak es f r o m bur n i n g? ”
R ea d the sto ry si len tly .
T ell i t o r a lly o r in wr i ti ng , as yo ur teacher di r ects .
Fi n d En glan d o n th e map o f E ur o pe .
Ho w di d th e Dan es reach En glan d fr o m th ei r

co u n t r
y
Wo rd S tudy
TO seek mean s to tr y to fi nd . He seeks. He so ught .
R ea d i ly m ean s qu i ckly, p ro mp tly .
T O d i rect mean s to o r d er ho w so methi ng i s to be d o n e .

56 EL E M E N TA R Y L E S S ON S I N E N GL I S H
ME NT A L PI C T UR IN G —D A T ES
December 2 1 , 1 620 ! T h i s i s a d ate fo r all y o un g A meri can s

to lea r n an d to r emem ber . W h at pi ctu r e d o es i t br i n g to y o u r
mi n d ? D o es i t mak e y o u see a co ld , gr ay sky ; d a r k, wi n d
swep t wa ter s ; th e go o d sh i p M a yflo wer, wi th i ts brav e co m
ny o f tr ue h earted P i lgr im s
pa -
R ea d the p r ecedin g sen ten ces . What do th ey m ean ?

Wh at d ate i s m en ti o n ed i n th em ? In th is d a te a
mo nth , a d ay Of th e mo nth , an d a y ea r a r e n a m ed .
T h e m ar k is called a co mma . H o w is i t u sed
in th e d ate ?
Oral Ex erci se . Wh at pi ctu r es d o th ese d a tes br in

g
to yo ur min d ? T ell a bo u t a ny tha t yo u can .
Oct 1 2, 1 4 9 2 ;
. Ju ly 4, 1 7 7 6 ; Dec 2 5, 1 7 7 6
. .
Wri tten Ex erci ses .

—I . C op y ex ac tly the da tes
gi ven a bo ve . Do not fo rget th e per io d s fo llo win g
a bbr ev i a ti o n s, n o r th e c o mm a s se ar a ti n th d f
p g e a y o
th e m o n th fr o m th e yea r n a m ed in each d ate .
II . S upp ly the p r op er p unctua ti o n mar ks

A pril 1 6 1 9 1 0 A u g 1 9 1 9 06 S ept 20 1 9 19 July 4 1 9 09
F eb 22 1 7 3 2 F eb 1 2 1 8 0 7 F eb 27 1 80 9 F eb 14 1 908
III Wri te
. the d a tes O f Wash in gto n ’
s Bir th day
th i s yea r la st Fo u r th o f Ju l ;
y n ex t C h r i stm a s ; n ex t
’
New Day ; A r bo r Day th i s y ear
Yea r s Wi th what .
ki n d o f letter d o es the n am e o f each h o li d ay begin ?

58 E L EM E N T A R Y L E S S ON S I N E N GL I S H
69
A N E XER C I S E IN O BS E R VA T I ON
C o ntr acti o ns
’
T h ere s a go o d ti me co min g, bo y s .
’
T her e s is a sh o rt way Of wri ti n g Th er e i s T W O .
wo r ds h a v e been pu t to geth er to m a k e o n e wo r d by
d ro ppi n g o ut th e letter i T he a po stro ph e
. sho ws
th a t so m eth i n g is o mi tted . Wo rds li ke ther e s

’
are
called co ntracti o ns . T hey sh o uld al ways be wri tten

wi th a n a o stro h e
p p to sho w wh er e th e mi ssin g letter
or letter s belo n g .
Yo u u se co n tr acti o n s co n stan tly in ta lk in g to o ne
a n o th er . Yo u fin d th em i n po etry because th ey
a lso
m ak e lan gu age m o re li v ely .
R emember . An apo str ophe sh o uld be used in co ntr acti o ns
to sh o wth at letter s ar e o mi tted .
Oral Ex erci ses . R ea d a lo ud the f o llo wing sen
ten o es . E xp la i n the co n tr a cti o ns u sed i n them . Do

fin d m an y o ld fr ien ds a mo n th em ?
yo u g
’
I . 1 . W h o s th ere ?
’ 6 . He s a j o lly go o d f ello w .
’ ’
2 . W h at s th e m atter 7 . T h at s all n o n sen se .
’
3 .
’
It s a sh a m e . 8 . H o w s y o u r br o th er ?
’
4 . H er e ’
s my ne w go wn . 9 . W h er e s my k n i f e ?
’ ’
5 . A ll s well . 10 . T h er e s n o thi n g lik e th e r o se.
’
E x ample : Who s mean s who is .
’
11 . 1 . We ’
r e h u n gr y . 2 . Yo u ’
re ti r ed . 3 . T h ey re too slo w
.
’
Ex ample : We re mean s we a re.
A L E S S O N F O R P R A C T I CE 59
’ ’ ’
III . 1 . I ll not go . 3 . H e ll co m e . 5 . We ll ru n .
’ ’ ’
2 . Y o u ll be so rry . 4 . S h e ll stay . 6 . T hey ll play .
’
E x a mple : I ll mean s I sha ll o r I wi ll .
’
IV . 1 . I v e e aten my cak e . 3 . We ve ’
sh aken th e tree .
’ ’
2 . Yo u v e seen m e . 4 . T h ey ve wri tten th e wo rd s .
Ex a mp le :
’
I ve mean s I ha ve .
’ ’
1 . C a n t y o u see ? 5 . Di d n t y o u h ear ?
’ ’
2 . I sn t b e h ere 6 . W o uld n t sh e si n g ?
’ ’
3 . M u stn t y o u go ? 7 . C o uld n t y o u sleep
’ ’
4 . H a v en t y o u go n e 8 . S h o uldn t we r i se
’
E x ample : C a n t mean s ca n no t .
’
T i s summ er ’
T was a f a mo u s v i cto ry
VI . 1 . . 3 . .
2 .
’
T wi ll be co ld to n i gh t. 4 ’
T wo uld be wr o n g
. .
E x a mple ’T i s m ean s i t i s
: .
’ ’
VI I . I d li ke to go i f y o u d be wi lli n g to tak e m e .
’
E x am ple : I d mean s I wo uld o r I ha d ! .
’ ’
mean s
VII I . 1 . E er m ean s ever ; n e er n ever .
’ m n ’i su ’
i m ean s i t i s
2 . O er ea s o ver ; l n o t.
70
A L ESS O N F O R P R A C T IC E
Wri tten Ex erci ses . I . C op y sen tences f ro m ea ch
gr o u
p gi ven i n L esso n 69 , as yo ur tea cher di r ects .
II Wr ite ten sen ten ces f r o m di cta ti o n

. .
III Wr i te sen tences Of yo ur o wn using

.
,
such co n
tr a cti o ns as yo ur teacher d i r ects .
IV . M ake a li st f o ten co n tr a cti o ns an d the wo r ds

f ro m whi ch they a r e f o rmed .
V . I n the p o em o n p a ge 3 0 fi nd the co n tr acti o ns
used . E xp lai n ea ch o ne .
71
A LE S S O N O N C O NT R A C T I O N S
S tudy f
ca r e ully the co n tr a cti o ns i n these sen tences
’
1 . Yo u re no t go i n g et
y , a re y o u
’ ’
2 . Yo u ve ha d a go o d ti m e, h av en t yo u ?
’
3 . I m n o t r ead
y t o go .
’
4 . D o n t yo u wan t to sta
y
’
5 . D o esn t y o ur m o th er k no w wh er e y o u ar e ?
’
Y m ean s yo u a r e n o t
o u r e no t .
’
H a ven t yo u m ean s ha ve n o t yo u .
A re an d ha ve a re pro
per wo rd s to u se wi th y ou
.
I m
’
no t m ea n s I am no t . Wha t wo rd d o ma ny
ch ild r en an d so m e
g ro wn u p-
o
p p
e le u se wh en th ey
o u gh t to sa y am n o t, is n o t, a r e n o t, or ha ve no t ?
’
Be on y o ur
g u ar d th a t th is tr o ubleso me wo rd ain t
’
d o esn t p sli fr o m y o u r to n gu e .
’
D o n t m ean s d o no t . I , yo u , we ,
they, or wo r ds
n a m in
g m o r e tha n o ne
p er so n o r thi ng m ay be used
wi th th e wo r d ’
do n t ; thu s,
’ ’
6 . I d on t car e . 9 . T h ey d o n t Ho .
’ ’
7 . Yo u d o n t p ai n t . 10 . M en d o n t fly .
’
8 . We ’
d o n t steal . 11 . B o y s d o n t lik e d o lls .
’
D o esn t m ea n s d o es no t . H e, she, i t, or wo r ds
n a mi n g o n e
p er so n or thi n g m ay be u sed with the
wo rd ’
d o esn t ; th u s,
’
l ’
12 . H e d o esn t d an ce“ 15 . T he gi r d o esn t sk ate .
’ ’
13 . S h e d o esn t swi m . 16 . T he bo y d o esn t co o k .
’ ’
14 . I t d o esn t sn o w . 17 . T he ba by d o esn t walk .
T H E A N T A ND T H E G R A S S H OP P E R 61
Oral Ex erci ses . R ep ea t alo ud the number ed sen
tenoes . R evi ew this lesso n f

O ten .
Wri tten Ex erci ses I . C op y the n umber ed sen
ten o es . Wri te as many as yo u r tea ch er d irects .
II . Wri te sentences of y o ur o wn , usi ng co rr ectl

y the
wo r ds a m n o t, is n o t are n o t do n o t d o es n o t
, , ,
.
III Wr i te yo ur sen tences a seco nd time using co n

.
,
tr ac tio ns i n p lace of the wo rd s gi ven i n E x er cise I I .
72
T h e A nt and th e Grassh o pper

‘
’
In a field o ne su mmer s d ay, a gr a ssh o pp er was l
g y y
a
ch i rp i n g an d si n gi n g. An ant p as sed by on h is way h o me,

ca r ry i n g wi th gr eat to il a gr a i n o f co r n .
” “ co m e
G o o d d ay , F r i en d A n t, cr i ed th e gr assh o per , si ng
an d d an ce wi th m e i n stead wo rk i n g ”
of th er e li ke a slav e .
“N o ” “I
,
i n d eed , sai d th e a nt, mu st lay up f o o d f o r th e
wi nter wh en the fields will be c o ver ed wi th sn o w. I thi nk
’ same th i n g
”
o u d better d o th e
y .
’
“ N o n sen se ” sai d
,
th e grassh o e
pp ,
r wh at s th e u se Of
’ ’
bo th eri n g abo ut wi n ter I ve plen ty o f f o o d n o w, a n d th at s
all I care abo ut

”
A way sk i p p ed th e grassh o pper, bu t th e
.
a n t k ep t p ati en tly at wo rk
Wh en win ter came th e an t h ad plenty to eat T h e f o o li sh .
gr assh o e
pp ,
r a la s ! f o un d to o late th at ch i r p i n g an d si n gi n g
do no t fill th e n est wi th fo o d .
S tudy this f able to lear n thef o llo wing p o i n ts

Who were i n the field ; wh at they sai d to ea ch
o ther ; what each d id, a n d wh at the r esult was .
E xp la in the co n tr actio ns u sed i n thef a ble .

73
A D DIN G T O A S T O R Y
I P ictur e to yo urself the grasshopp er i n summer

. .
What was she do i n g ? H o w d id sh e feel ? T o wh o m

di d sh e ta lk ? Wh at did sh e say ?
P i ctur e to yo ur self the grasshopp er i n win ter . HOw
d id sh e feel ? Wha t d id sh e d o ? T o who m c o u ld
sh e go fo r h elp ? What co uld sh e sa y ?

II . T ell the f a ble, Th e A n t and the Gr a sshopp er ,
a d d i ng a ny i n teresti ng tho ughts ga i ned i n this lesso n .
Word S tudy
S he si ngs no w . S he sa ng then . S he ha s sung a ll su mmer .
H e la ys up f o o d . H e la i d up food H e.h as la i d up m u c h .
H e d o es ha r d wo rk . S he d id no wo rk S he has d o ne n o thi ng
. .
R epeat these senten ces alo u d . Wr ite o th er s li ke th e m .
74
A ST O R Y F R OM A N E WS PA PE R
’
Li e sti ll, li ttle br o th er, I wo n t h u rt y o u, ”
sai d M ild r ed
M aso n , br i gh t li ttle gi r l j u st seven y ear s o ld
a S o say i n g, .
sh e lled h er baby br o th er d o w n u p o n a h eavy ru g a n d

p u
q u i ck l y r o lled him up i n it.
T h i s h appen ed y ester d ay mo r ni n g befo r e th e two ch i ld ren

wer e d ressed T he li ttle bo y, r un n i n g to o n ear th e gr ate,
.
h ad set hi s n i gh tgo wn afl r e . H i s br ave si ster sa w hi s d an
ge r an d k n ew wh at to d o to h elp h i m B y h er p r o mpt
. acti o n
sh e sm o th er ed th e fl ames and so
’
sa v ed h er br o th er s li f e .
Tell the sto r

y i n
y o ur o wn wo r ds . Sho wwha t the
Th in k of o o d n a me the
li ttle gi rl d i d . a
g f or sto r
y .
A N A C TI O N L E S S ON 63
75
AN A C T I O N LE S S O N
Li e ; Lay ; Lai n
I n Lemo n 7 4, what d i d th e little hero i ne tell her

br o th er to d o ? S tu dy the f o llo wi ng
1 . T h e bo o k li es on th e table no w .
2 . T h e bo o k la y on th e table y ester d ay .
3 . T h e bo o k ha s la i n on th e ta ble f o r a mo n th .
R ep ea t these sen tences a lo ud M a ke o ther sen tences .
li ke them a bo u t o bj ects yo u can ha nd le If po ssible, .
”
mak e each sen ten ce tr ue T h u s, .
H av e d a n c il to gether on d esk
a p en an pe
yo u r .
”
Po in ti n g to th e pen , say, T h e pen li es o n the d esk .
H a v e so me o n e tak e th e pen a way ; then say, T h e

“
pen lay h er e o n th e d esk besi de th e pen ci l

”
W h i le .
th e pen ci l i s still o n th e d esk , say, T h e pen cil has

la in o n th e d esk lo nger th an the pen .
Wri tten Ex erci ses F i ll the blanks i n the f o llo wing

.
sen tences wi th the p r op er wo r d, li e, lay, la i n

1 . T he stalk n o w fl at on th e gr o un d .
2 . I am s u re it th er e wh en I came th r o u gh th e
gar d en last n i gh t.
3 . C o u ld i t h ave d ay y esterd ay
th er e all
4 . I am ti red o f seei n g th at p aper o n th e o o r fl . I t h as

th er e all th e mo r ni n g .
5 .T h e p o o r bo y wa s all ti red o ut . He d o wn bef o r e

i t gr ew d a rk , an d f ell f ast asleep .
64 EL E M E N TA R Y L E S S ON S I N E N GL I S H
76
O R A L R E VI E W
1 . Wh at d i d H i a wath a call th e bi rd s T h e beasts Ex

’
p lai n th e u se O f th e s i n yo u r an swer s .
2 . H o w sh o u ld n a mes o f h o li d ay s begi n
3 . Wh at i s to ld in a d ate ? G i ve th e d ate of y o u r bi rt h d ay .
’ ’ ’ ’
4 . E x plai n th ese co n tr acti o n s : yo u r e, we ll, they ve
i t s, .
5 . G i ve co r r ec t co n tr ac ti o n s o f th e f o llo win g : We a r e, is
n o t, ca n n o t, i t i s, I h a ve .
F i ll i n th e p r o per c o n tr acti o n s
’ ’
6 . Do n t, d o esn t : T h e baby cry O ften . y o u li ke
to ta k e car e O f h i m
’ n o t r en ’ ’
7 I m .
, a t ha ven t y o u r ea dy ?
to wai t .
y o uf o un d y o u r h at
F ill i n th e p p
r o er w o r d s
8 . S a ng, s ung H av e y o u We y ester d ay .
9 . D id, d o n e : He well C o uld yo u h ave

. better
10 L i es, la y, la i n
. T he baby o n th e co ld flo o r , so I
p u t h i m o n y o ur b e d H e h.a s th er e asleep a lo n g ti me .
H o w still h e n o w!
77
A PO E M T 0 B E LE A R N E D B Y H E A R T
S weet and Lo w
S weet an d weet an d lo w,
lo w, s
Wi n d o f th e western sea,
Lo w lo w, br eath e an d blo w,
,
Win d o f th e westei n sea !

Ov er th e r o lli n g water s go ,
C o me f r o m th e dy i n g m o o n , and blo w,
Blo w h i m agai n to m e ;
Wh i le my li ttle o n e, wh i le my p r ett y o n e, sleeps.
E L E M E N T A R Y L E S S ON S I N E N GL I S H
No rse L ulla by —
E ugen e F i eld
—
. .
S leep , B a by, S leep G erm an C ra dle S o n g

—
.
L ullaby of a n I nf a nt C h ief Si r Walter Sco tt .
H ush ! The Wa ves a re R o lli ng I n Old G aeli c L ullaby

. .
R o ck a by, L ullaby
- -
. J G H o llan d
. . .
’
S o me p eo ple wo uld ad d Sh ak esp ea r e
I/
ulla by f o r the F a i ry Q ueen, T ita n i a , i
“A ’ ”
M i d su m m er-N i gh t s Dream as th
best of th em all . H er e i t i s
Yo u spo tted sn ak es with d o uble to n gue,
T h o r ny h ed geh o gs, be n o t seen ;
N ew ts an d bli n d -
wo r ms, d o n o wro n g,
C o me n o t n ear o u r f ai ry queen .
Ph ilo mel, wi th melo dy,

S in g i n o u r sweet lullaby ;
Lulla, lulla, lullaby ; lulla, lulla, lullaby

N ever h ar m,
No r spell n o r ch arm,
C o me o ur lo v ely lady n i gh ;
S o , go o d ni gh t, wi th lullaby .
Weavi n g sp i d er s, c o me n o t h er e ;
’
H en ce, yo u lo n g-legg d spin n ers, h en ce
Beetles black , appro ach n o t n ear ;
Wo r m n o r sn ail, do no o ffense.
Phi lo mel, wi th melo dy,

S in g i n ou r sw eet lullaby
Lulla, lulla, lu llaby ; lulla, lulla, lullaby

N ev er h ar m,
Nor spell n o r ch arm,
C o me o urlo v ely lady ni gh ;

So , go o d n i h
g ,t w i th lu llaby .
A N E XE R C I S E I N C A R E F UL O B S E R VA T I ON 67
79
A N E XE R C I S E I N C A R E F UL O B S E R VA T IO N
T h e Perso n A d d ressed
L o ok the p i cture o n p age 2 8

at T he sch o o lma ster .
is spea ki n to the two li ttle o n es a n d to th e bo

g y
sta n di n
g on the sea t . T h is i s wh at he says
1 . Wh at h a v e y o u been d o i n g, T o m
2 . M aggi e, sto p cr y i n g .
3 . S i t d o wn , J ames, an d stu d y y o ur lesso n .
R ea d a lo ud wha t the scho o lmaster sa ys . Wh o m d o es

he a dd ress i n th e fir st sen ten ce ? I n th e seco n d sen
ten ce ? In th e la st sen ten ce ? H o w i s th e n a me
se
p a r ated fr o m th e r est o f th e sen ten c e in ea ch ca se ?
R emember —The . n ame Of a perso n a ddr essed is separ ated
fr o m the r est Of the senten ce by a co mma o r co mmas .
I . Ex erci ses . Wr i te f r o m di cta ti o n the nu mber ed

sen ten ces .
II . In th e fo llo wi n g sen ten ces whi ch wo r d n am es

th e per so n or th i n g a d d r essed H o w sh o uld co m mas
be u sed in these sen t en ces ? C op y them . P la ce
co m m as wher e they ar e n eed ed
1 . S leep m y li ttle o n e sleep .
2 . L i ttle bo y blu e co m e blo w y o u r h o rn .
3 L i sten my ch i ld r en an d y o u sh all h ear th e sto ry .
4 . P o lly p ut th e k ettle on .
III . A d dr ess a
p p il
u n ea r
yo u, a sk i n g h i m to gi v e
en cil
yo u a
p .
A d dr ess the gi r ls i n the class, aski n

g them a
u estio n abo ut the w eather

q .
68 E LE M E N T A R Y L E S S ON S IN E N GL I S H
A ddr ess the bo ys, m aki n g the sta tem en t th a t schoo l
is to clo se early .
Wo rd S tudy
To a dd r ess m ean s to sp ea k to .
T he p erso n a dd r essed m ean s the p er so n sp o ken to .
80
A N E XER C I S E IN S I LE N T R EA DI N G
T h e T o rto i se a nd th e Duck s
f
R ea d this a ble si len tl
y w h o th e a cto fin d
to rs o ut
were, wh a t h a ppen ed to ea ch o n e wh y i t h a ppen ed , ,
an d h o w it en d ed Pi ctu r e to y o u r self th e str ange

.
si gh t wh i ch th e Villa ger s saw .
A to r to i se o n ce li v ed i n a p o n d wi th so me wi ld d ucks .
T h ey gr ew v ery f o n d o f o n e a n o th er an d spen t many h a ppy

ear s to geth er A t len gth th er e cam e so d ry a seaso n th at all
y .
th e water d i sapp ear ed f ro m th e po n d, an d th e d uck s h ad to

fin d a n ew h o me .
W h en th e du ck s went to th e to rto i se to say go o d by to h i m, -
h e sco ld ed th em h a r shly We a re so rry to leav e y o u r eplied

.
,
th e d u ck s, but, as y o u c anno t fly , ther e i s n o th i n g else f o r us
to d o , u n less y o u a gr ee to th i s plan . If y o u pr o mi se n o t to
sp eak o ne wo rd on th e way we , wi ll car ry y o u wi th us .
R emember, if y o u o pen y o ur m o nth , i t will be y o ur d eath .

”
D o n o t f ear , sai d th e to r to i se, I wi ll o bey y o u r c o m man ds

” “ ”
.
T h e d u ck s, th ereu po n , gav e t h e to rto i se a li ttle sti ck T hey .
to ld h i m to h o ld i t by th e mi d dle, f a st i n h i s m o u th T aki ng .
th e sti ck by each en d , th ey carr i ed him saf ely alo n g . P resen tly

th ey fl ew o v er a v illage . T he v i lla ger s, a sto n i sh ed at the
str an ge si gh t, b egan to sh o ut . T h i s m ad e th e to rto i se v ery
an gry an d h e d eter min ed to scold th em r o un d ly . A las ! as

A C L A S S E XE R C I S E I N S T OR Y M A KI N G 69
so o n as he h i s m o nth , h e let go th e
o p en ed sti ck, an d so f ell
t o th e gr o u n d a n d wa s k illed .
Wo rd S tudy
T h e d u cks fly . The d ucks fl w e . The d u cks ha ve fl w n o .
T h e to r to ise f a lls . Th e to r to i se f ell . T he to r to i se has f a llen .
T h ey gr o w . Th ey grew . T hey ha ve gr o wn .
T h ey sp en d . They sp ent . T h ey ha ve sp en t .
R ep eat th ese sen ten ces . C o py an d a d d to th em .
81
A C L A S S E XE R C I S E IN S T O R Y M A KI N G
A n Unex pected B ath
I B o y, a ged ten —gi l r a ged se e — o u ban k o f

v n
—
.
,
str ea m . Bo y , fish i n g ro d i n ha d gi l h a t ti ed
n r ,
u n d er ch i n , la in
p y g and watch i n g co rk d an c e i n
wa ter talki n g.
II A n i bble, a bite — gi r l s ri n s
p g fo r po le sli ps
—b y —
.
o ca tch es h at str i n gs br ea k d o wn S ei z es
d r ess sa v ed
Do es th e sk etch g i v en abo v e h in t to
y o u wh at
’
h a ppen ed ? In cla ss, wi th y o u r teach er s h elp, tell
the who le sto ry . Wri te i t, a r r a n gi n g i t i n two par a

g r a phs a s sh o wn a bo v e .
Wo rd S tudy
Th ey si t . Th ey sa t . T hey ha ve sa t .
S he sp r i ngs . S he sp ra n g . S he ha s sp r u ng .
H e ca tches . H e ca ught . H e ha s ca ught .
T h e str i ng brea ks . T he str i ng br o ke . Th e str i ng h as br o ken

S he si n ks . S he sa n k . S he has sun k .
M ak e th e sen ten ces mo r e i n ter esti n g by a d d in g to th em .

A S O N G T O B E L E A R N ED B Y HE A R T
L ear n this bea u tif ul so ng

’
T h e y ea r s at th e sp r i n g,
’
A n d d ay s at th e m o r n ;
’
M o rn i n g s a t seven ;
T h e h i llsi d e ’
s d ew p earled
-
’
T h e la rk s on th e wi n g ;
’
T he sn ai l s o n th e th o r n ;
’
Go d s i n h i s h ea v e n
’
A ll s r i gh t wi th th e wo rld !
(F ro m Pi pp a Pas ses R O B E R T BR O W N I NG .
Who wr o te th e so n g ? DO yo u th in k th a t the
po et was h appy when h e wr o te i t Was Pi ppa, the
little I tali an gi rl h appy wh en
,
sh e sa n
g it ?
What sea so n o f th e yea r d o es the so n g describe ?
What tim e o f the d ay ? What h o u r o f th e m o rn
i ng ? What gi ves bea uty to th e hi llsi de Ho w
d o es the la r k sh a r e i n th e j oy o f a spr i n g mo r n in g ?
H o w d o es th e lark a dd to i t ? H o w do es ev en the
sna i l sh a r e in i t Who r ei
gn s o v er a ll H o w do es
H e keep th e wo rld
S a y the so n
g o ver a n d o ver u n ti l i t ha s sung f
i tsel
i n to yo ur ver y hea r t .
’
S o meti me, P i Co i n to a n o tebo o k in
py pp a s so ng
wh ich y o u wr ite thin gs tha t y o u car e to keep SO .
beau tiful a so n g sh o uld be wr i tten n eatly an d co r

r ectl
y .
TH E S T UD Y OE A P I C T UR E 71
83
T H E S T UDY O F A PIC T UR E
S tudy this i n ter esti ng p i ctur e u n til yo u ha v e, i n

u r m i n d , a pictu r e o f wh a t th e a r ti st sa w i n th e
yo
rea l la n d scape, a n d ca n alm o st h ea r what h e h ea rd .
R u ysd a el
D P IT I
.
LA N SC A E W H M LL .
I . T h e po i n t o f lan d o n wh i ch th e m ill stan d s, i ts i r r egu

lar sh o re, th e gen tle slo p e, th e tr ees, th e h o u ses, th e mill
to wer i n g o ver all ; c o lo r s i n th e r ea l la n d scap e .
II . T h e m i ll —a gi a n t i n si z e,
i t s gr eat c r eak i n g arms .
I II . T he water lap pi n g th e sh o r e I V T h e sky

. . .
A S T OR Y T O B E T O L D E XA C T L Y 75
88
A S T O R Y T O B E T O L D E XA C T LY
P eggy , a p r ett
y m i lk ma i d ,
was ca r ry i ng a p a i l of milk
on h er h ea d . A s sh e tri p ped alo n g, sh e was busi ly th in ki n g
o f all th e fin e thi ngs she wo uld buy
when sh e h ad so ld th e milk . Sa id
sh e,
’
I ll b uy so me eggs T h ey l.
’
l
so o n h atc h o ut i n to fin e chi cks .
’
T h ese I ll sell at a go o d r ice, an d
p
’
th en I ll buy myself th e p r ett i est
go wn an d h at i n th e v illa ge . The
n ex t ti m e I go to market all th e
y o un g men will co me o u t to m eet

me ! R eu ben A llen wi ll see th em
c o me . How j ealo u s he will be !
But I ll ’ ’ j u st
n o t care, no t I! I ll
to ss my h ea d , so A s sh e th o u gh t
of R euben , sh e to ssed h er h ead an d
d o wn f ell th e pa i l to th e gro un d .
’
Wh en po o r P eggy s mi stress
h ea r d wh at h ad h appen ed , sh e sa i d ,
’
A h , f o o li sh gi rl, d o n t co u n t y o u r
c h i ck en s be f o r e th ey are h atch ed
R ea d the sto r y. Pi ctu r e

Peggy trippi n g a lo ng, pa il o n
h ead —
Peggy thi n ki n g bu sily,
wh a t —Peggy s fancied ’
m eetin g with R euben , wh a t
ha ppen ed —Peggy with h er mistress, wh at d id th e
latter sa y Do quo ta tio n m a rks help yo u to
? u n der
stan d the sto r ?

y
E L E M E N TA R Y L E S S ON S I N E N GL I S H
Oral Ex erci se . T ell the sto ry f ro m begi n ni ng to en d .
Wri tten Ex erci se . C op y the sto r y. Pay str ict
a tten ti o n to letter s, pun ctuatio n ma rk s,

ca pital co n
tr acti o n s, a n d quo tatio n m a r ks .
Wo rd Study
P eggy thi n ks . P eggy tho ught . P eggy has tho ught .
P eggy buys . P eggy bo ught . P eggy has bo ught .
P eggy hea rs . P eggy hea r d . P eggy h as h ea r d .
A d d to th ese sen ten ces to mak e th em mo r e i n ter esti n g .
89
T ell ho w qu o ta ti o n ma rks help yo u to un dersta nd
a n d enj o y the f o llo w i ng p o em
T h e T ree
’
T he T r ees early leaf bu d s wer e bur stin g th ei r bro wn ;
S h all I tak e th em a way sai d th e F ro st, sw eep i n g d o wn .
N o , leav e th em alo n e
T i ll th e b lo sso m s h av e gr o wn ,
P ray ed th e T r ee, wh i le h e tr embled f r o m r o o tlet to cr o wn .
T h e T ree bo r e hi s blo sso m s, an d all th e bi r d s sun g ;

S h all I tak e th em a way sai d th e Win d, as he s wung .
N O, lea v e th em alo n e
T i ll th e berr i es h av e gr o wn ,
Sai d th e T r ee, while hi s leafl ets qu i ver i n g hun g .
T h e T r ee bo re h i s fruit i n th e mi d su mmer glo w

S ai d th e gi rl, “ M ay I gath er thy berr i es n o w
“ Y es all th o u can st see
,
T ak e th em ; all are fo r th ee,

S ai d th e T r ee, wh i le h e ben t d o wn h i s lad en bo u gh s lo w
—
.
BJ OR N S ON .
A N E K E R C I S E I N R E A D I N G A N D OB S E R VA TI ON 77
90
A N EXER C I S E I N R E A DIN G A N D O BS E R VA T ION
Ho w Quo tati o ns B egi n
R ea d the f o llo wi ng i nsp i ri ng wo r ds T h ey wer e ex

.
p ressed b y per so n s wh o se li v es wer e a s n o ble a s th eir

th o u ghts Learn th e m ean in g
. o f each
qu o ta ti o n
“T he ar e n ev er alo n e
1 . S ir P h i li p S i d n ey sai d , y th at ar e
ac c o m p an i ed with n o ble th o u gh ts .
”
2 . J am es R u ssell L o well wr o te to a f r i en d , We d o n o t
“
kn o w h o w ch ea p th e seed s o f h appi n ess a re, or we wo uld

”
scatte r th em o f ten er .
Wh a t wo r ds do the quo tatio n m ar ks in clo se i n the

fir st sen ten ce ? Wh o se wo r d s are th ey ? Wi th wh at
kin d o f letter do es the quo ta ti o n begin ? Wha t ma r k
separ a tes th e qu o ta tio n fr o m th e r est o f th e sen ten ce ?
A sk the same questi o ns a bo u t the seco n d sen tence .
R emember . The fir st word o f every quo tati o n sh o uld begi n

wi th a capi tal letter .
A quo tati o n i s usually separ ated fro m th e r est o f the sentence
by a co mma .
Wri tten Ex erci ses . I . C op y the number ed sen ten ces .
II Wri te them f r o m di cta tio n

.
.
III A sk thr ee of yo ur classma tes a

.
qu estio n . Wr ite
thei r a ns wer s on the blackbo a r d, quo ti ng thei r ex ac t
wo r ds i n this f or m,
sai d ,
re
p li ed ,
an s wered,
78 EL E M E N TA R Y L E S S O N S I N E N GLI S H
91
INS ER T I NG Q UO T A T IO N M A R KS
H ar ry , ar e y o u go i n g to th e ball ga me ask ed J0 0 .
’
N0 , I m no t go i n g to -d ay, ans wer ed H arry .
’ ’
I m so rry I t s su re to be a go o d game, sai d J o e
. .
Y es, I k n o w B ut th er e ll be an o th er game n ex t S atu rd ay

’
.
’
I ll go to th at, said H ar ry, walk i n g a way .
Wher e sh o uld qu o ta ti o n m ar ks be placed to sh o w

wh at each bo y sa id in th i s co n v ersati o n ?
Wri tten Ex erci se . C op y the sen ten ces

gi ven f or
study . Place qu o ta tio n m a rk s wh ere they belo n g .
92
A N E XE R C I S E I N O B S ER VA T I O N
Yes an d No ,
N o ti ce the wo r ds Yes a nd No i n the senten ces gi ven
in L esso n 9 1 . Wha t mark is u sed a f ter each ? A

co m m a sh o uld be u sed a f ter th e wo rds Yes an d No
in a sen ten ce .
So m eti m es Yes an d N 0 do th e wo rk o f a wh o le
sen ten ce In th at th ey a r e fo llo wed b th
. ca se, y e
mar ks wi th wh ich sen ten ces clo se ; thus,

A r e y o u r eady Yes .
Is i t r ai n i n g ? N o .
’
L et s stay at h o me ! No !
Wri tten Ex erci ses . I Wr i tefive questio ns Wri te

. .
the a nswers usi ng Yes o r No as a r ts of the a nswer

p .
II . Wr i te five mo r e questio ns . Wr i te Yes or No

as the who le a ns wer of these questi o ns .
T H E S T UD Y O F A S T OR Y
A ST O R Y T O BE R EA D
C o rn eli a was a beau ti f u l lad y wh o li v ed i n R o m e m any
y e a r s a go . S h e h a d two bo y s, an d n ev er d i d m o th er an d
so n s lo v e ea ch o th er m o r e ten d er ly th an th ey H o w beauti .
fu l o ur mo th er i s ! ”
th e bo y s wo u ld say so ftly , a s th ey sa w
h er go abo ut th e h o u se an d gar d en H o w f o r tu n ate I a m .
t o h av e two such so n s th e m o th er wo uld th i n k , as sh e

watch ed th em at th ei r stu d i es o r th ei r games .
O n e d ay a lad y , d r essed i n th e r i ch est o f silk s an d wear

i n g th e co stli est O f j ewels, cam e to call u po n C o r n eli a . Sh e
b r o u gh t wi th h er a ca sk et o f wo n d er f ul beau ty . P r esen tly,
t h e lad y to o k f r o m th e cask et r ar e j e wels o f all ki n d s an d
sh o wed th em to C o r n eli a . T h e latter th o ugh t th em ex qu i si te .
W h en th e last gem h ad been br o u gh t o u t, th e v i si to r sai d
I h av e sh o wn y o u all my j ewels . P ray , wh ere ar e y o u r s

’
A t th i s m o ment, C o rn eli a s bo y s r etu r n ed f ro m sch o o l an d
c am e u p to gr eet th ei r m o th er . P utti n g h er a r ms abo u t
th e m C o rn eli a
,
sai d p r o u d l y :
“ T h ese ar e my j ewels . T h er e
are n o n e mo r e p r eci o u s i n R o me ; n o , no r in all th e wo r ld ! ”
R ead thi s sto r y si len tly u n ti l

y ou kn o w i t well .
T H E S T UDY O F A ST O R Y
Observati o n . N o ti ce tha t the sto r y i n the last les

so n co n si sts O f thr ee
p a r a g p
r a hs T h e be
gi n n i n
g o f .
ea ch o n e is sh o wn by setti n g th e fir st wo r d i n fr o m
th e m argi n , leav i n g a small spa ce . T hi s i s ca lled
i nd enti ng the pa r agra ph .

In C o pyi n g th e sto ry o n p g
a e 7 9 , if yo u lea v e a
m ar gin at th e lef t of o u a er O n e i n ch i n wi d th ,
y r
p p
y o u in d en t th e pa ragra ph by setti n g i n the
sh o uld
fir st wo rd o n e half in ch i n a d d iti o n , leav i n g a space

o f one in ch an d a h alf .
Who m d o es th e first p a r agr a

ph of th e sto ry
d escr ibe ? Who is d escr ibed i n th e seco n d p a ra
ra
g p h ? W h a t i s to ld i n th e la st
pa ra r a h ?
g p
’
C o rn elia s so n s grewu p to be brav e an d n o ble men .
With su ch a mo ther to tr a i n th em , yo u d o not
wo n der a t th is do yo u ? ,
Oral Ex erci se . T ell the sto r y witho u t bei ng ques

ti o ned . A sk questi o ns a bo u t the sto r y .
Wri tten Ex erci se . C op y the sto ry i n to a n o teboo k,
o ne
p a r agr a
p h at a ti me .
Wo rd S tudy
I . R epeat a lo u d th e
Th e la d y wea r s S he ha s wor n
S he ta kes S he ha s ta ken
S he sho ws S he ha s sho wn
S he br in gs S he has br o ught
II . C o mplete th e sen ten ces by telli n g wha t she wea rs, and
so o n .
III . E x qu i si te mean s ex ceed i ngly fi n e, pfer ect i n bea uty .
P ro ud ly h er e m ean s wi th a go o d f eeli ng th a t o ne has so me

thi ng wo rth ha vi n g .
U se th ese wo r d s in sen ten ces o f y o ur o wn .

82 E L E M E N T A R Y L E S S ON S IN E N GLI S H
96
HOW T I T LE S O F BO O KS A R E WR IT T E N
T he gn a mes
iv en to bo o k s, sto r i es, an d th e lik e ar e
T he Yo uth o f Washin gto n ,

”
called ti tles . Sham
”
Ba ttles an d a R eal Ba ttle, are ti tles When ti tles .
co n si st o f m o r e than o ne wo rd, th e first wo rd an d ev ery

immrtan t wo rd sh o uld begin wi th a capi tal letter .
When th e ti tles of bo o k s p i
or ctur es ar e spo k en
of in wr itin g, th ey are usu ally in clo sed in quo tati o n
mar ks, as
yo u see in thi s lesso n .
Ex erci ses. Why a r e capita l letter s used in the

fo llo wi ng sen ten ces ? C op y these sen ten ces
1 . A F r en ch a r ti st d r ew “T he F i r st S tep .
”
”
2 . C h ild r en li k e A t H o me af ter th e F i rst Vo yage .
3 . H a ve y o u r ead wi th Un cle R emu s 7

“ N i h ts
g
’
4 . B o y s, r ead M o lly E lli o t S eawell s Li ttle J a rvi s .
5 G i r ls, r ead L o u i sa M ’
A lco tt s L i ttle Wo m e ”
n
. . .
97
Q UEST IO N S A B O UT GR EA T A M E R IC A N S
SOM E
Gi ve tru thf u l answer s to these qu esti o ns

1 . DO yo u ev er co py n a mes O f great A mer i can s
2 . DO yo u Of ten see p i ct ur es of A mer i can h er o es
3 D O y o u call G eo r ge W ash i n gto n , B en amin F ran kli n ,
. j
T h o mas J eff erso n, A br ah am L i n co ln, R o bert E L ee, gr ea t .
A m er i can s
Oral Ex erci ses . I . Of th e great m en n am ed abo v e,
o u m ay ch o o se th e o n e wh o m y o u a dm i r e m o st
y .
A sk questi o ns a bo u t the o n e cho se n, as f o llo ws

A SN O WB A LL EI GH T 88
1 . Wh en h e was bo r n . 2 . Wh ere he was

3 . What h e lik ed to d o as a bo y .
4 . H is sch o o l o r hi s c o mpan i o n s .
5 . On e ser vi ce h e per f o rmed f o r h i s co un tr .

y
II .F ind answers to yo ur o wn questi o ns .
an in teresti ng sto ry f r o m them .
98
A S NO WB A LL F I GHT
Wri te a p ar agrap h a bo ut a sno wballfight .
Wh ether y o u to o k part i n figh t o r o nly lo o ked o n .
Wh ere i t was Wh o th e lead er o f each si de was

.
Wh at th e rule was abo ut th e sn o wballs .
H o w lo n g th e ga me lasted Wh i ch si d e wo n
. .
Wh ether th er e wer e any acci d en ts .
Wh at ki nd o f ga me i t was (go o d , p o o r, slo w, f ai r, u n f ai r )

Think of o ther ti tlesf o r yo ur sto r y . C an it be ca lled
”
A Fi n e Vi cto ry or A C rush i n g Defea t 7
84 EL E M E N T A R Y L E S S O N S I N E N GL IS H
99
T HE GO O S E WIT H T H E G O LDEN E GGS
A co u n tr y man wen t o ne mo rn in g to th e n est o f

hi s go o se .
T o h i s su r pri se an d d eli gh t, h e f o u nd an egg o f p u re go ld .
E very mo r n i ng th e same thi n g o cc ur r ed , a n d h e so o n became

ri ch by selli n g th e eggs. A s h e grew r i ch , h e gr ew gr eedy .
Ho pi n g to get at o n ce all th e go ld th e go o se co u ld gi ve, he
k illed i t an d o pe n ed i t o n ly to fin d — n o thi n g.
R ea d the f a ble silen tlyN o tice the ma r k

. It
is ca lled a da sh T h e d a sh in th is case sho ws that
.
wha t fo llo ws is u n ex pected Wha t d id the co un try

.
ma n ex pect to fin d in th e go o se ? What d id he fin d ?
Was th is un ex
pected ? W as h e serv ed r i h t ?
g
Wri tten Ex erci se Wr i te the f a ble f r o m memo ry
. .
C o mp a r e wha t yo u ha ve wr i tten wi th the abo ve sto ry .
Whi ch so un ds better when r ea d alo ud ?
10 0
O R A L R E VI E W
1 . Wh at is the mark called
2 . Wh at a re th e marks called ?
3 . With wh at kin d o f letter sh o u ld a di rect quo tati o n begin

4 . Fill i n th e p r o per mark s : R ed sa ys B e br a ve ! M i te
sa ys B e p ur e 1 Blue sa ys B e tr ue I
Fill i n th e pro per wo r d s
5 Wo r e, wo r n H e h as
. my ri n g . I hi s o n e day
.
6 . T o o k, taken : S h e h as a ro se. She o n e last week .
7 . T o re, tor n : A th o rn h er finger . T h o rn s have

mi n e, to o .
A N E XE R C I S E I N R E A D I NG 85
A N EXE RC IS E I N R E A DIN G
Ch ildr en with gr eat deligh t a little bo o k

r ea d
Go o dy T wo Sh o es
”
ca lled H ere a re so m e pa r ts o f .
th e sto ry L i ttle M arger y i s Go o dy T wo S ho es
L i ttle M argery wanted o f all th in gs to learn to r ead . Fo r

thi s purpo se sh e u sed to meet th e li ttle bo y s an d gi r ls as th ey
ca m e f ro m sch o o l, bo rr o w th ei r bo o k s, an d si t d o wn an d r ead
till t h ey r eturn ed .By th i s mean s sh e f o un d th at o nly twen ty

si x letter s a re r equ i r ed to s ell all th e wo rd s i n th e wo r ld ; but
"
p
as so m e o f th ese letter s ar e la r ge an d so me small, S h e, wi th
h er kn ife, cut o u t o f sev eral p i ec es of wo o d ten sets o f sm all
lette rs an d si x sets o f large o n es. H av i n g go t an o ld spelli n g

bo o k , sh e mad e h er .
co mpan i o n s set u p all th e w o rd s th ey
wan ted to spell, an d af ter th at sh e tau gh t th em to co mp o se
sen ten ces . Y o u k n o w wh at a sen ten ce i s, my d ear I wi ll

”
be go o d, is a sen ten ce . I t i s mad e u p, as y o u see, o f sev eral
wo rds .
T he u su al man n er o f spelli n g, o r carryi n g o n th e game, as
th ey called i t, was
th i s : Su pp o se th e wo rd to be spelt was
p lu m p u
-
dd i n g (an d wh o ca n su pp o se a better th e c h i ld r en .
were p la ced “
i n a ci r cle, an d th e fir st br o u gh t th e letter p, ”
“ ” “ ” “ ”
th e n ex t I, th e n ex t u, th e n ex t In , an d so on ti ll
th e wh o le wo rd was spelt ; an d if an y o n e br o u gh t a wr o n g
letter, h e was to pay a fin e o r ,
l
p y
a no m o re .
Oral Ex erci se . T ell a bo u t Go o dy T wo Sho es .
E xp la i n the sp elli ng gam e the chi ldr en la

p y ed . Ex
lai n o ur f avo ri te game
p y .
10 2
T H E A L PH A B ET
On e mo r n i n g M ar gery tapp ed at th e d o o r of a f ar mh o use

T ap, ta p, ta p .
“ Wh o ’ s th er e ?
”
On ly li ttle G o o dy T wo Sh o es, ”
an s wered M ar gery ,
“ co me
”
to teach B i lly .
T h en o u t ca me th e li ttle bo y , H o w d o , D o o dy T wo S h o es ? ”
said h e, n o t a ble to speak p la i n ly Y et thi s li ttle bo y h ad

.
lear n ed all h i s letter s ; f o r sh e th r ewd o wn th e alph abet m i x ed

to geth er th u gs —b ) d : f : h : k: m t 0 :
(I) 8 : n ) W: y , z: j: a) c: e: g:
i , l, n, p, ,
r t, v, x , h e pi ck ed th em u p,
an d called th em by
th ei r ri ght n am es, an d pu t th em all i n o r d er .
Wri tten Ex erci ses I Wr i te the letters as they . .
wer e af ter B i lly set them ri ght T h e letters fo rm the .
En glish a lph abet .S ay the a lp ha bet alo ud .
II Wh at is
. th e i n itial letter o f each of the fo l
lo win g wo rds ? C op y the wo r ds i n the o r d er of the
al
p ha bet :
R ead, wo rd , letter, so u n d , alph abet, talk, m ake, k n o wn ,
q ue sti o n ,
i n terr o ga ti o n , p e ri o d , ex cla mati o n , co mm a, d ay,
y ear , use, go ld ,
h o me, f a mi ly, o bey , vacati o n , n est, bea ver,
z er o , Jan e Xerx es
, .
H av e yo u ev er h ea rd, I kn o w th e sto ry fro m a
to z
”
? What do es th a t m ean ?
III . A rr ange i n the o r d er o f the a lp ha bet all wor ds
i n the seco n d
p a r a gr a
p h o
f L esso n 10 1 .
VO WE L S A N D C O N S ON A N T S 87
10 3
VO W E LS A N D C O N S O N A N T S
Wr i tten wo r ds are m ad e of letter s ; spo ken wo rds

a re ma d e of so u n d s T h e letters y o u
. wr ite sta n d
i n pla ce of th e so u n d s yo u say Yo u . wri te A an d
so u n d bu t n o o n e ca n m a ke a so u n d i n pr in t ; he
ca n o n ly represent it .
To repr esen t the so u n d s y o u ma k e i n spea k i n

g,
th ere a re twen ty six -
letters wh ich fo rm th e En glish
a lph a bet .
So m e of the letter s of th e a lph a bet a re like so me
eo
p p , le t h ey h a v e so m u c h to d o Po o r A h as to d o
t h e wo r k o f sev en letters ! H o w can th a t be ? L is

ten : ate, li t, are, q ll, ask, c dre, sen ate .
No t a ll the letter s a re so o v erwo r ked , h o wev er .
So m e, li ke k, p , t, wh en th ey sta n d a lo n e in a wo r d ,
a lwa y s h a v e th e sa m e so u n d ; a n d v er little so u n d
y
th ey h a v e, j u st a breath .
To w this di fl eren ce in th e so u n d o f letters the

Sh o ,
n a m es v o wel a n d co nso nant a r e u sed S tudy this list .
Vo wels : a , e, i, o, u, w
( ), (y) .
C o n so n an ts : b, c, d, j ; h
g ,
, j ,
k, l, m, n, p , q, r , s, t, v, w
( )
,
w (y) 2
, ,
W i s u sually a co n so n a n t as i n wet swi m but i n wo r d s li ke

, , ,
f ew, h o w i t i
, s a v o wel .
Y i s a vo wel i n wo rd s li k e fl y, ba by and a co n so nant i n ,
wo rd s li k e yet .
N 0 E n gli sh wo r d i s wi th o u t a t least o n e v o wel, but so me

wo rd s li k e I an d 0 h ave n o co n so n an t
, , .
88 E LE M EN T A R Y LE S S ON S LN E N GL I S H
T HE WO R DS A , A N , A ND T H E
B e car ef ul i n usi ng the li ttle wor ds a , an, th e .
A is used befo re wo r ds begi nn i n g wi th a co nso nant

so und .
A n is used befo re wo r ds begi nn in g with a vo wel

so und .
I n th e wo rd the th e letter e i s pro n o u n ced v ery

pla i n ly 5 , th e w
wh en
o r d the i s n amed a lo n e I t is .
so un ded less pla in ly (73)befo r e a n o th er wo rd begi n n in g
wi th a vo wel so un d, an d i s scar cely heard befo r e a

wo r d begin n in g with a co nso n a nt so un d ; thus, Spell
th e wo rd thé Pro n o un ce theEvening, the d ay
. .
Oral Ex erci se R ea d the f o llo wi ng wo r ds a lo ud
wi th the wo r ds th e, an, or a
I . arro w, bo w; ear, h an d ; en d , begin ni n g ; i ce, sn o w;

o ats, barley ; i mage, statu e ; ox , co w; o r d er, si gnal ; u se,
n o n sen se ; u pper , lo wer .
II . early tr ai n ; go o d j oke ; a wf u l sto r m ; u gly
weed ; p r etty si gh t ; Old sto ry ; gen tle lady ; u sefu l
to o l ; O dd n umber ; h o mesick ch ild ; un welco me

v i sito r ; i dle f ello w; q u i et r o o m ; in ky fin ger ; h o ur
of pleasur e ; y ea r o f p len ty; h o n est an swer .
W ri tten Ex erci se . Wri te five sen tences using wor ds

i ven i n thi s lesso n
g .
H O M E R E A DING
Perh aps so me o n e will to yo u a bi t o f ta lk

r ea d
between th e spri te “
P uck a n d the Fa i ry i n A Mi d
’
su mmer Nigh t s Dr eam ,
-
o r so me o th er po em ch o sen
fr o m the li st given belo w Listen tha t yo ur car may .
be trai n ed to h ea r th e m usi c i n po etry .
T he mu si c is n o t a lwa ys the sa m e ; so metimes it

is slo w an d so o thi n g, a s in the lullaby S weet an d
Lo w so m etimes i t i s q uic k an d spar klin g, as in

H ie A way so meti m es i t i s almo st h a r sh , but sti r
“ ”
r in g, a s in Bo o t an d Sad dle . H er e is a li st f ro m
whi ch to ch o o se
H a rk ! H a r k ! the L a r k .
—F ro m ’ “
S h ak espear e s Cy mbe
”
li n e.
Un d er the Gr een wo o d T r ee ”
F ro m A s Y o u Li ke I t ”
—F
. .
’ “ T he ”
A r i el s S o ngs ro m T em pest .
Boot a nd S a d dle. R o ber t B r o wni n g .
P UC K A N D T H E F A I R Y
H o w n o w, wh i th er wan der ‘
S pi r i t ! y o u P
O ver hi ll, o ver d ale,
T h o ro u gh bu sh , th o r o u gh br i er ,
O ver park , o v er p ale,
T h o r o ugh fl o o d , th o r o u gh fire,
I do wan d er every wh ere
’
S wi fter th an th e m o o n é s sph er e ;
S YL L A B L E S 91
A nd I ser v e th e f ai r y qu een ,
T o d ew h er o r bs u po n th e gr een ;
T he co wsli p s tall h er p en si o n er s be ;
I n th ei r go ld co a ts spo ts y o u see ;
T h o se be r u bi es, f ai ry f a v o u r s,
I n th o se f r eckles li v e th ei r sa vo ur s,
I mu st go seek so m e d ewd r o p s h er e,
’
A n d h an g a pear l i n ev er y co wsli p s ear .
’
F ar ewell, th o u lo b o f S pi r i ts ; I ll be go n e
Ou r queen an d all h er elv es c o m e h er e an o n .
R ead these wo r ds tho u ghtfu lly ; sa y them f

ca re ully
1 . th o ugh t 2 . th o u gh tf ul 3 . th o ugh tf uln ess

4 . c are 5 . car eless 6 . car elessn ess
Sp ell the fir st wo r d F i nd the same. co m bi n a ti o n
f
O letter s a s a p a r t of the seco n d wo r d ; o
f the thi r d
wo r d .
C op y i n a co lumn the wo r ds 1 , 2, 3 . Un der li ne

the p a r t tha t i s the sa me i n the thr ee wo r ds . T h e part
u n d er lin ed is a s llable
y in each wo rd .
S tu dy the wo r ds 4, 5 , 6, i n the sa me way .
wo r d s tho ught a n d ca re a r e wo rd s o f o n e syl

T he
lable H o w m an y sy lla bles i n th e n u mber ed wo rd s ?
.
Ho w man y in ea ch wo rd in th is lesso n ?
Wri tten Ex erci se . C op y the wo r d s f

o two sylla bles
used o n this p age .

10 8
T H E H YPH E N
What do the fo llo win g sen ten ces m ean

1 . O n e to d ay is wo r th two to m o rr o ws
-
.
2 . T o be go o d i s to be h appy .
3 . Wri te i t o n y o ur h ear t th at every d ay i s th e best day

of th e y ea r .
N o ti ce the wo r d to d ay - . I t i s m a de of two pa rts,

to an d d a y, eac h o f wh i ch ma y be used a s a sepa ra te
wo r d . T h e ma r k which j o in s th em i s ca lled a
h y ph en .
T he hyph en i s also u sed to sepa ra te th e syllables
o f wo r d s, as i n th e d i cti o n a ry , an d a t the en d of a
lin e to w th at pa rt o f a wo r d i s ca rri ed to the

Sh o
n ex t lin e Wo rd s o f o ne sy llable canno t be di vi d ed

. .
T he la st letter wr itten o n a li n e m ust be th e la st

letter o f a wh o le wo rd o r o f a wh o le sy llable , .
Wri tten Ex erci ses 1 C op y f r o m yo ur ar i thmeti c

. .
the na mes of the n u mber s f r o m twen ty to thi r ty .
II Wr i te f r o m dicta ti o n
.
1 . A m er ry h ea rt go es all th e d ay,
Yo u r sad ti r es i n a mi le a -
.
S H A KES PE A R E .
2 . S tay, h o me, my h eart, an d rest ;

stay at
H o me k eepi n g h ear ts ar e h appi est,

-
F o r th o se th at wan d er th ey kn o w n o t wh ere
A r e f ull of tro u ble an d f u ll of ca r e ;
To stay at h o m e i s best .
LO N G F EL L O W .
111
PR A C T I C E I N T A LKING
B ells
T h in k of d iff er en t ki n ds of bells —big bells

, , little
bells ; lo u d bells, so ft bells . H o w m an y can yo u
n ame i n h alf a m in u te ? Wh ich o ne d id yo u h ea r

la st ? Wher e were y w
ouh en
y o u h ear d i t rin g ?
H o w di d it so u n d ? Why wa s i t r u n g ? Who r an
g
it ?
What m en tal pictur es do yo u get f ro m th e fo llo w
in g gr o u ps o f wo r d s ? Select o ne tha t i n ter ests yo u ;
ta lk to yo u r classm a tes a bo u t i t C a n yo u keep them .
in ter ested fo r two m i n u tes ?

1 . A clea r , co ld day ; sn o w, wh ite an d d r i f ted ; slei gh wi th
lo ad of h ap py ch i ld r en ; si lv er bells, ti nk le, j i n gle . W h er e
i s th e S lei gh tak i n g th e chi ld ren Wh at d o th e bells say
2 A busy str eet ; wa go n s, car r i ages, str eet car s,

. a u to mo
bi les, m en , wo men , bo y wi th a ca r t c r o ssi n g th e str eet ; a la r m ,
fir e bells, clan g, clash . W h at d o th e bells say Wh at h ap

p en s to th e bo y wi th th e ca r t
3 . A co un tr y ro a d ; sh r ubs an d tr ees gr o wi n g at th e ro ad si d e ;
d o n k ey p i cn ic
ca r t, p a rt
y e n gi n e bells, wa r n in g W h a t d o es .
th e d o n k ey d o W h at d o es th e d ri ver d o
4 A scho o l ya r d
. a li vely gam e, bell r i n gs, si gn al I s t he .
ga m e fin i sh ed or gi v en up
A bi r thd a y p a r ty ; ch i ld ren at table ; d o o r bell gi v es

5 . a
merry ca ll D o es i t an n o un ce a tar d y guest o r a n o th er gi ft

.
6 I n d ep en d en ce H a ll; J u ly 4 , 1 7 7 6 ; tu mult i n th e ci ty ;
.
cr o wd s, ex ci temen t, every bo d y talk i n g, p ush i n g ; th e bo , th e

y
T WO S TA N Z A S OF A E I N E P OE M 95
b e llm a n “
. R i ng ! R i ng ! G r a ndp a , R i ng ! Oh, r i ng f or
”
L i ber ty ! sh o u ti n g an d j
re o i ci n g ; th e S i len t bell .
W ri tten Ex erci se . Wr i te a
p ar a gr a
p h a bo u t any
o ne O f the p r ecedi ng top ics .
W o rd S tudy
To a nn o un ce mean s to ma ke kn o wn .
Wa rn ing m ean s gi vi ng n o tice.
T umult mean s h ubbu b, wi ld ex ci temen t .
R ep eat alo u d th e f o llo wi n g sen ten ces ; ad d to th em

T h e bell r i ngs . T he bell r a ng . T he bell ha s r u ng .
C h a n ge th em to qu esti o n s ; th u s, D o es the bell r i ng 2
112
T WO S T A NZ A S O F A FI N E PO E M
R in g o ut, wi ld bells, to th e wi ld sky,

T he fly i n g clo u d , th e f ro sty li gh t :
T h e y ear i s dy i n g i n th e n i gh t ;
R in g o ut, wi ld b ells, an d let hi m d i e .
R in g o ut th e o ld , r i n g in th e ne w,
R i n g, h appy bells, ac r o ss th e sn o w
T h e y ear i s go i n g, let h i m go ;
R i n g o ut th e f alse, r i n g i n th e tr ue .
—A L F E D R , LO R D T E N NY S O N .
C o mmi t these bea u tif u l li n es to memo ry When yo u .
h m h m m k li t h
'
r e c i te t e a t o e,
try to a e y o u r s en er s ea r
wild
” ”
bells r i ng an d see th e sky, th e flyin g clo u d ,
th e fro styligh t M a ke . th em feel tha t th e bells
a r e
“ha
ppy b ells,
a n d t h a t f a lse a n d tr u e a r e tw o
d i fi er en t th i n
gs M a k e th
. e
f a lse g o o u t w i th t h e o ld
y ea r a n d th e tr ue co m e in with th e n ew .
98 EL E M E N T A R Y L E S S ON S I N E N GL I S H
M ari an wa s no w r eady to write th e m a i n par t, o r

bo d y , of her letter . S he bega n in th is wa y : H er e I
wr o te
’
am a t gr a n d a th
f er s, an d h er m essa ge to h er
m o th er . H av in g d o n e th is, sh e co n clu d ed her lette r
by writi n g th i s po li te end i ng th at h er m o th er m i gh t
kn o w h o w sh e felt to war d h er :
Yo ur lo vi ng d augh ter,
an d a ddi n
g th i s si gnature to Sh o w wh o wr o te th e
M aria n B r o wn .
R ea d this lesso n aga i n . R ea d the letter a ga i n .
P o in t o u t an d n a m e each O f th t h ea din g, salu

e
p a r s
ta tio n , bo dy, po li te en d i n g, si n a tur e

g .
W o rd S tudy
To co n clud e mean s to clo se, to en d .
115
T H E H E A DIN G O F A LE T T ER
The headi n g of a letter tells wh ere an d wh en th e

letter i s wri tten . It co n si sts o f the n ame o f a
place
an d a da te . S tudy thef o llo wing ex am

p les
1 . 120 B eaco n S tr eet,

B o sto n , M as s ,
.
M ay 3 0, 1 90 9 .
T h o ma sv i lle, G a , .
D ec 25 , 1 9 0 8
. .
3 , P a sad en a , C ali f .
, F eb 22, 1 90 7
. .
F i n d the na me o f the p la ce wher e ea ch letter is wri t

T H E H E A D I N G OE A LE T T E R 99
ten ; fi nd the d a te when i t is wr i tten . What ma r k

separ a tes th ese two po i n ts ?
H ea d in gs di ffer in a rran gem en t . H o w m any lin es .
ar e th er e in th e first hea d in g ? What do es ea ch li n e

tell Where a r e co m ma s u sed ? Wher e a re per io d s
used ? T ell why these ma r ks a r e used .
Wri tten Ex erci ses . C op y the hea di ngs On p 9 8

I . . .
II . Wr i te o n the blackbo ar d the hea d i ngs yo u thi n k

best to use in wr i ting letter s, as
f o llo ws
1 .A t h o m e to d ay , a t sch o o l n ex t W ed n esd ay, at y o u r
’
gr an d f ath er s h o u se T h an k sgi v i n g D a y o f th i s y ear .
2 L o ui si a n a, N ew O rlean s, o n th e F o u rth o f J uly , y ear

.
after 1 2 L af ay ette S qu ar e
n ex t at .
3 A t th e C api to l i n th e cap i tal o f y o ur

. state o n th e ei gh th
day o f J u n e i n an y y ear y o u ch o o se to n ame.
Wo rd S tudy
A cap i ta l is a ci ty. A cap i to l is a bui ld i ng .
116
T H E S A LUT A T I O N O F A L ET T E R
3 66 VI R G I N I A A VE , A T L A N T I C C I T Y, N J . .
,
A ugust 1 9 , 1 90 6 .
DE A R JA C K ,
You sh o u ld h a ve h ear d me sh o u t wh en th e po stman ha n d ed

me yo u r letter ! I was l
so
g a d to h ea r f r o m y o u . I k new
yo u wo uld tell me all abo u t th e b o y s at h o m e .
J ust th in k , I h ave been at A tlan ti c C i ty a wh o le mo nth I

have lea rn ed to swi m an d to ro w. F ath er bo u gh t me a bo a t
and I go o ut in it every pleasan t d ay .
100 E L E M E N T A R Y L E S S ON S I N E N GL IS H
I wi sh y o u wer e h er e with us Do n t y o u th i n k yo u r .
’
mo th er wi ll let y o u co me 7 D o ask h er r i gh t away , a n d

tell me wh at sh e say s .
Yo ur ch u m,
WI L L IE WI N K IE .
Wh ere wa s written ? When was i t

th i s letter
wri tten ? T o who m was i t wr itten ? A bo u t wh a t
thr ee po in ts d o es th e letter tell ? Wh o wro te it ?
T h e salu tati o n in a letter na mes i n a po li te wa y
th e perso n to wh o m a letter i s wri tten It co n sis ts .
o f a wo r d th a t n a m es th e per so n a n d o n e o r mo re
wo r ds th at ex press feelin g .
S tudy the sa lu ta ti o n s u sed i n f r i en d ly letter s:
D ear J ack , M y d ear M o th er ,

D ear U n cle J o h n , M y d ear F r i en d,
D ear est S i ster , D ear F ath er,
M y d ear M i ss B r o wn , Dear M r s H a le,
.
wo rd wi th
‘
h e fir st o f a sa luta ti o n begi n s a capi t a l
letter . A co mma a nd d ash a re used af ter th e salut a
ti o n . S tudy the letter on

p a ge 9 6 to lea rn wher e the
sa lu ta ti o n sho u ld be p laced .
Wri tten Ex erci se . Co py

the ex a m
p les gi ven abo ve .
Wri te them f ro m d i cta ti o n . On the bla ckbo ar d wri te

the p r op er sa lu ta ti o n to be used as f o llo ws
In a n o te to y o ur teach er ; to th e pr i n ci p al o f y o ur sch o o l ;
to y o u r si ster o r br o th er ; to th e m o th er o f o n e o f y o ur play
mates ; to a d o cto r wh o m y o u k n o w; to y o u r d ea r est f r i end .

10 2 EL E M E N T A R Y L E S S ON S I N E N GL I S H
KE NN E B UN K BE A C H , M E .
,
DE A R N E D , !
A u gu st 1 1, 1 90 4 .
I h av e f asten ed so me sea weed to th i s pa per . S h all I tell
y o u abo u t
e th p o o l in S wh i ch I f o un d i t ?
h u t y o u r ey es,
d ear, an d try to p ictur e i t i n th at bu sy li ttle m in d o f y o u r s .
Deep d o wn a mo n g th e r o ck s, wh en th e ti d e i s lo w, th er e
li es a qli ttle po o l
u i et I ts r o cky si d es a r e go ld en br o wn
. .
B ea uti f ully co lo r ed mo sses, lik e qua i n t bi ts o f d eli ca te e m

bro id ery , m ak e a so f t co v er i n g f o r th em A ba by st arfi sh , .
h alf h i d d en by o ati n g mo ss, i s cli n gi n g wi th i ts fiv e li tt le

fl
a r ms ti gh tly to th e r o cky wall P er h a p s i t i s tr y i n g to h i d e
.
-
f r o m i ts n ei gh bo r , th e c r ab, wh o i s tr av eli n g abo ut th e p o o l

i n th e f u n n i est f a sh i o n . H o w glad th e m o th er cra b m u st
’
be to th i n k th at sh e d o esn t h a ve to buy sh o es an d sto ck i n g s
f o r h er child r en ! H o w many i t wo uld ta k e f o r each o n e,

’
wo uld n t i t T h e bo tto m of th e p o o l i s co v er ed wi th lo v e ly
shi n i n g sh ells . I wo n d er i f th e wee f o lk wh o d well i n th e m
co m e o u t o n m o o n li gh t n i gh ts, an d si t o n th e lo n ely sh o r e,
r o ck i n g, r o ck i n g, ro ck i n g, to th e mu si c of th e wav es .
W h at d o y o u thi nk abo u t it Wr i te ,
d ear, an d tell
Y o u r s lo vi n gly ,
A U N T A L I C E S E A VE R .
R ea d the letter f y
ca r e ull P i ctur e
. th e
p o o l to y o u r
sel
f .
W h a t d o es qua i n t m ean ? w ee f o lk W o u ld
’
n t
y ou lik e to see th o se d esc ri bed i n William A llin g

’
h a m s po em T h e Fai r i es
D o wn alo n g th e r o ck
y sh o re
S o me mak e th ei r h o me,
T h ey li v e on cr i spy p a n cak es
O f y ello w ti d e f o am -
.
H O W T O B R I N G L E T TE R S TO A CL O S E 103
1 19
H O W T O BRIN G LE T T E R S T O A C LO S E
Wh en th e writer of a letter h as wi sh es
sai d all he
to sa y i n th e bo dy of hi s letter, he do es n o t th r o w
h is pen a side at o n ce, bu t a dds a few po lite wo r d s
to se r ve as a p lea si n g end i ng a n d si gns hi s name,
b efo re h e pu ts th e letter i n to i ts env elo

pe to be
m a iled .
It wo uld be j ust as r ud e to sen d o ff

letter a
W i tho u t a d d in g these, as i t is to walk away fro m a
p er so n with who m y ou hav e been ta lki n g wi th o ut

t a ki n g lea v e — sayi n
g go o d by
—-
i h so me way .
R ea d the letter on
p age 1 02 . A un t A lice co n clud es
i t by wri tin g this po li te endi n g an d si gnature,
Yo urs lo vi ngly,
A un t A li ce S ea ver .
T he en d i n g sh o ws h er feelin g fo r Ned .
T h e first wo rd ofth e po li te endi ng begi ns with a
c a pi ta l letter . A co mma f o llo ws th e endi ng .
S tu dy the co nclusi o n o f the letters on a

p ges 9 7,
1 00 , 1 0 2 . Wh ere i s the en din
g pla ced ? W h ere is
t he si gn a tu re wri tten ? Wh at mark fo llo ws th e sig

n a tu r e
S o meti mes th e ws wh at r elati o n th e wri ter i s to

en d i n g sh o
t h e per so n to wh o m th e letter i s wr i tten S ee page 97 . .
I n th e letter o n page 1 0 2 th e si gn a tur e sh o ws th e relati o n .
N ed h as two au nts n am ed A li ce T h e o n e wh o wr o te thi s

.
letter i s n a m ed A li ce S eaver .
1 04 E L E M E N TA R Y L E S S O N S I N E N GL I S H
Wri tten Ex erci se C op y the f o llo wi ng f o r ms .
Wri te them f ro m d icta tio n

SA L U T TI
A ON C O N C L u sI O N
1 D earest S arah,
. Yo ur si n cer e fri en d ,
M ari e L o u i se L ester .
2 Dear F ather,
. Y o ur lo vi n g so n ,
J am es M aso n .
M y d ear F ath er , Y o ur lo vi n g li ttle gi r l,

3
4 .
! M y d ar li n g M o th er ,
M y d ear T each er, S i n cerely y o ur s,
B essie .
5 . D ear A u n t A nn a, A ff ecti o n ately yo ur s,
When i s it pro per to use th e fo r ms given a bo ve ?
Wh ich o n es can be u sed i n the same letter ?
T HE E N VE LO PE
Wh en M ari an B r o wn h ad fin ished th e letter on
9 6 sh e fo ld ed i t n ea tl nd l d i t in
p g
a e , y a
p ac e an
en v elo pe wi th th e fo llo win g a d d r ess
Mu s JO S E P H E B R O WN ,
. .
4 13 EUC L ID A VE ,
C L E VE L A N D ,
OH IO .
C op y the a d d r ess gi ven a bo ve .

1 06 E L E M E N T A R Y L E S S O N S I N E N GL I S H
WH A T IS A GO O D L E T T E R ?
No thin g th a t yo u lea rn in scho o l will be o f gr ea ter

u se to y o u th an kn o wi n g ho w to wr i te a go o d letter .
A letter to be m u st be pr o per i n fo rm ,
called go o d
co rr ect i n spellin g a n d pu n ctu a tio n , n eatly wr i tten
an d f o ld ed , a n d , a bo v e a ll, si n cer e a n d n a tu ral i n
th o ugh t a n d ex r essi o n
p .
Befo r e y o u begin to wr ite , be sure t h a t y o u h a ve

s o meth i ng to say , an d th en say it a s sim l
p y as p o ssi
ble . T ry to pu t yo u rself i n th e place o n e wh o o f th e
i s to r ecei ve yo u r letter, an d say wh at yo u thi n k th at

er so n wi ll be i n terested i n kn o wi r h ea r in
p n
g o
g .
Wri tten Ex erci ses . I . R ea d the letter on

p a
ge 99 .
Wri te an a ns wer to i t, tellin g wh en th e letter was

r ece iv ed , wh eth er Ja ck h is m o th er fo r permis
a sk ed
sio n to go to A tla n ti c C i ty, wh at sh e s aid , and wh at

he wa s to d o i n co n sequen ce .
’
II .
I
A un t A li ce S ea ver s letter . P r ep ar e a n a ns wer
to i t . Di d yo u j
en o y h er d escri pti o n ? If so , than k
h er fo r it Of . co u rse, y o u will th an k h er fo r the
letter an d an s wer h er q u estio n s Perh a ps yo u k n o w
.
a p r ett
y t h aspo t
t yo u c a n describe i n yo ur a n swer .
II I With yo u r tea ch er s h elp, p rep a r e a class letter

’
.
to be sen t to so m e per so n wh o se bo o ks, po em s, pi ctu res,

or gen er o sit
y have ad d ed to th e pleasu r e of
yo u r life
in sch o o l . Sen d the letter , i f po ssible .
L E T TE R S To C L A S S M A TE S 107
SO M E LE T T E R S R EL A T IN G T O S C H O O L LIFE
I . Wr i te to yo ur tea cher . Study th e fo llo win g

to pi cs to fin d y o ne w ri te a bo u t ;
y o u r ea ll car e to
i f th ere is n o ne ch o o se a to pic o f yo ur o wn
,
T a ke .
u o n e to ic o n ly in each n o te o r letter wri tten

p p
1A sk y o u r teach er wh eth er
. sh e is sati sfied wi th y o ur
wo rk and co n d u ct i n sch o o l .
2 . A sk h er to ex p la i n so m e po i
i n y o ur lesso n th at y o u
n t
d o n o t clear ly u n d er sta n d B e su r e to tell wha t th e po i n t i s
. .
3 E x plai n why y o u wer e tard y, o r absen t f ro m sch o o l, o r

.
ask to be ex cu s ed ear ly .
4 . T h an k th e teac h er f o r a k i n d n ess wn y o u
sh o .
5 . T ell whi ch stu dy y o u lik e best, an d why y o u like i t
best .
6 . T ell wh i ch study y o u lik e least, and why y o u do no t
7 . T ell wh at y o u ca n d o to h elp i n maki n g a sch o o l enter
tain men t i nter esti n g an d successf ul.
LET T ERS T O C LA SS M A T E S
II . Wri te to a n absen t c lassma te a bo u t o ne o

f the
f o llo wi ng top i cs
1 . A ne wp u
p il o ld er th an th e o th er s kn o ws li ttle
En gli sh f un ny m i stakes k n o ws I talian fin e in ar i th
meti c thi n k he wi ll
be p ro mo ted so o n ask wh at can
be d o n e to ma ke hi m f eel at h o me .
2 A ne w mo del i n ma n ual tr a i n i ng or se wi ng material

—t —h
.
used o o ls u sed o w y o u r m o d el d iffers f r o m th o se of
o th er u
p p i ls h o w lo n g i t to o k y o u to co mplete i t Were .
y ou p leased wi th i t ? W h at a r e y o u go i n g to d o wi th i t ?
3 Ga me between thef o ur th a nd h
fif g
t d b wh at m
—wh
r a e o ys ga e
—wh
.
w h en l
p y
a ed o wo n at so rt of ga m e . E x press
th e wi sh th at y o ur play mate h ad tak en par t .
S O M E NO T E S R E L A T IN G T O H O M E LI F E
C hi ldr en o f ten m ake peo ple h a ppy by wri tin g n o tes
as d ir ected in th e fo llo wi n g ex er cises

1 . Wr ite a n o te th at y o u wo uld be wi lli n g to pu t un d er y o ur
’
mo th er s plate bef o r e breakf ast o n h er b i rth d ay . T ell h er
h o w m uch y o u lo v e h er, an d h o w tr uly y o u wi sh to gr o w
u p to be wh at sh e wi sh es y o u to beco m e .
2 . Wr ite a n o te ex p r essi n g y o u r C hr i stma s gr eeti n gs to

y o u r gr a n d p a r en ts. T he n o te i s to go w i th a p r ese n t .
3 W r i te a n o te to be sen t wi th so me fl o wer s to y o u r A unt

.
E mi ly wh o h as been v ery i ll, but i s getti n g better .
4 W r i te a bi rthd ay greeti n g to o n e o f y o ur gran d p ar en ts

. .
Be sur e to wi sh th at h e o r sh e may li v e lo n g i n go o d h ealth .
5 . Wri te a n o te to go with a bo o k
to y o ur co u sin sen t .
6 . W r i te a n o te to y o u r u n cle telli n g wh en th e su m m er
v ac ati o n begi n s S ay th at y o u h o pe to spen d a pa rt o f i t wi th
.
h im a s u su al. wh en h e m ay ex pect y o u an d h o w lo n g
S ta te
o ur m o th er wi ll allo w t r emai n
y y o u o .
7 I n vi te y o ur co u si n s to sp en d a S atur d ay wi th y o u
. T ell .
wh i ch S atu rd ay an d wh at y o u ar e plan n i n g to do .
8 . Yo u a re i n vi ted to a ch i ld r en s
’
p a rty . Wr ite th at it
wi ll gi v e y o u plea su r e to go . T h ank s f o r th e i n vi tati o n .
110 E LE M E N T A R Y L ES S ON S I N E N GL I S H
abo ut map le sugar ma ki ng

-
. B ef o re begi nni ng yo ur
S O M E LET T E RS O F G ENE R AL I N T E R ES T
I . Wri te to a f ri end a bo ut g o in
g to the ci r cus.
Wh o to o k y o u or ga v e y o u th e mo n ey to go —h o w yo u
went what y o u sa w —wh at i n ci d ents o cc urr ed re t urn .
II . Wr i te a letter telli ng a bo u t o ne mo r ni ng s sight

’
seei n i n the gr ea t ci t Of N ew Yo r k
g y .
Do wn to wn by elev ated ro ad th e wds B ro o klyn

—l i
cr o
B ri d ge o teri n g abo u t C i ty H all P a rk sta t ue o f N a th an

H ale —i t s mean in g —b u sy B r o ad way, n o i se, h u r ry h o me
by su b way ex pr ess tr ain .
III . Yo u a re in a ci ty li ke Pittsbur g, C in cin n ati,

or C hattano o ga where in clin ed ra il ways a re used to
t a ke peo ple up steep h ills or m o un ta i n s . Wri te a
letter telli ng a bo ut a trip o n such a r a il way .
A ppeara nce of tr ack an d car s -. th e ascen t wh at y o u

saw as th e ca r r o se h o w y o u f elt —th e r eturn.
I t r ises . It ro se . I t has r isen.
127
Yo u are vi sitin g the bea utiful re io n

g sh o wn in the
i t Yo u wi sh to wr i te to a fr i en d a t h o m e in
p c ure .
A meri ca abo ut it C an yo u ma ke y o ur fr ien d see i n

.
1 12 E L E M E N T A R Y L E S S ON S I N E N GL I S H
S OM E P R O FI T A B L E E XER C I S E S
A Ho me Ex erci se . In a e r a h , o r else
g g p y
o wh er e,
fin d th e m o st a ttr a cti v e i t u ca n , sh o wi n a
p c u re
y o g
scen e in o ur o wn fair So uth , o r a m o n g the S plen d i d
mo u n ta i n s of th e West .
f
I ma gin e yo ursel ther e .
Wri te a letter d escr i bing the scene, as f o llo ws

I . I n c i d en ts of th e j o u r ney an d ar r i al v .
II . T he scen e i tse f
l — la n d scapes h o u ses , , p eo ple.
II I . Wh at i n ter ests yo u mo st becau se of i ts str a n ge n ess
or beau ty , or f o r so m e o th er r easo n .
IV . C lo si n g th o u gh ts a n d r eq u ests .
A C la ss Ex erci se .
—B ea d
yo ur letter i n class . Is
the fo r m co r rect i n ev ery p i
a rt cu la r , hea d i ng, sa lu ta
i ?
ti o n , bo d y, co n clu s o n 4 I s th e th o u gh t ex pr essed in
an in ter estin g way ? Ho w can th e letter be i m
p r o ve d? Wri te ano ther letter o n the sa me top ic to sh o w

t h at yo u h a ve pr o fited by th e cr i ti cism s m a de .
A n Ex erci se i n Observ ati o n . Observe the wo r ds

S o u th a n d West T h ey a r e u sed a s n a m es o f l c
p a es
‘
.
j ust as m u ch as th e wo r d s F lo ri da or C o lo r ad o wo u ld
be . When so u sed , th ey sh o uld begin with ca pi ta l
letter s . C op y
T h e N o rth lea d s i n man uf actu ri n g an d c o m merce.
T h e Ea st was settled befo re th e W est .
F ar ms i n th e S o uth are called pla n ta ti o n s .

Wri te yo ur letter wi tho ut help . M ai l i t .
II . If yo u r ecei ve a rep ly, no ti ce these p o i n ts

Is i t i n ter estin g ? A r e all parts o f th e letter co r
r ectly wr itten ? I s th e letter pr o perly fo lded ?
13 1
S O M E L E T T E R S R E L A T I NG T O H I S T O R Y
I ma gi n e yo ur self wi th C o lumbus on his fir st vo yage

to A meri ca Wri te a letter telling
.
L AN DI G
N OF U U
CO L M B S .
T h e o bj ect O f th e v o y age — th e s ar t ro m P a lo s
t f —th r ee sh i ps .
T h e lo n g v o y a ge th e co mplai n ts of th e sa i lo r s land
bi r d s seen a li gh t .
T h e lan di n g th e r i ch d r esses an d ban n er s th e pr ayer

of th an k sgi v i n g I clai m th e lan d i n th e na m e o f th e King
an d Queen of S pai n .
T he n ati ves o n sh o r e app earan ce su rp ri se.

E US I N E S S L E T T E R S 1 15
13 2
BUS IN E SS L E T T E R S
T he le tters yo u ha ve th us far stu d ied an d wri tte n

ha v e a ll been o f a f ri end ly o r so ci al ki n d C h i ldr en .
a re n o t o f ten a sk ed to wr ite o th er s, y et it i s well th at

y o u h o uld lea rn
s so m eth i n g a bo u t busi ness letter s
a lso . I n busin ess letters, i t i s of
th e gr ea test im po r
tan ce to ex pr ess
yo u r th o u gh ts a s clear ly , a s a ccurately ,
an d in as f ew wo rd s as po ssi ble . Ev ery th in g n ecessa ry
to sen d in g th e letter f
sa ely a n d m a ki n g i t plai n wh o
th e wr i ter i s mu st be ,
m o st car efully atten ded to .
S tudy the f o llo wi ng letter

B UF F A LO , N Y . .
,
July 20 , 1 91 0 .
T h e M acm i llan C o mpany ,

64 66 F i fth A ve , N ew Y o rk
-
. .
G en tlem en
P lea se sen d me as ea r ly as p o ssi ble y o ur latest cata
’
lo gue of ch i ld r en s bo o k s . S tamps ar e i n clo sed .
Yo ur s v ery tr uly,
SA R A 8 m m
(A d d r ess
) M r s G eo r ge J S m i th,
. .
.
3 3 E E mber S tr eet
. .
The a d d ress o f th e perso n or per so n s to wh o m th e

letter i s sent is gi v en i n f u ll . T h i s i s do n e to m a ke
sure th a t th e letter go es to th e ri ght perso n .
S tu d y the sa luta ti o n Oth er sa luta tio n s th a t m ay

.
be u sed in bu sin ess letter s are D ear S i r s, D ea r S ir , M y

/
dear S i rs, M y d ea r S ir Observe where the sa lu ta ti o n
.
is wri tten , and tha t the ma r ks : (co lo n a n d d a sh ) ar e
used a er i t
f t .
116 E L E M E N TA R Y L E S S O N S I N E N GL I S H
S tudy the bo dy of the letter tho ugh br i ef, it is

o li te
p .
S tudy the en di ng. Oth er en d in

gs th a t m ay be u sed
a re Very tr uly yo urs, Yo urs tr uly, Yo ur s r es

p ec
tf zdl
y,
R esp ectfu lly yo urs, a n d Very y r es
p ectf ull
yo ur s.
’
N o ti ce tha t the wr i ter s na me and addr ess i n p a r t
ar e gi ven th at a reply ma y be sen t pr o perly Where .
are th ey W r i tten ? T he wr iter h as not o nl

y sign ed
th e letter with h er n a m e, bu t h a s also gi v en h er
c o r r e ct ti tle to sh o w h o w she i s to be a dd ressed .
Oral Ex erci se . H o w d o es yo ur m o th er si gn her

fri en dly letters ? Wh at d o es she a dd to h er si na
g
tur e i n a bu sin ess letter ?
Wri tten Ex erci ses .

—I . C op y the letter gi ven in
this lesso n Wr i te i tf r o m
. di cta ti o n .
II Wr i te a s f o llo ws
.
l . A letter to a busi n ess fi rm i n so me C ity, a skin

g
th e r i ce o f a bi c cle, a ca m er a, o r a n th a rt icle
p y y o er
wh i ch wo uld lik e to o wn
y o u .
2 A letter to a n ewsp ap er applyi ng fo r a ca r ri er s

’
.
,
r o u te T ell yo u r a ge wh ether yo u a r e stro n g en o ugh

.
,
fo r th e wo rk, wh eth er i t will i n terfer e wi th yo ur

S ch o o l wo rk .
’
3 . A letter to the edi to r o f th e ch ild ren s co lu m n in
so m e p p
a er o r m a ga z i n e, a sk i n
g to h a ve a certain
sto ry o r po em p r i n ted in i t .
4 . A letter to the p r op er fir m o r p erso n, a pply in g for

so m e wo rk a bo y o r a gi rl m ay d o dur in g v a ca tio n .
1 18 E L E M E N TA R Y L E S S O N S IN E N GL IS H
13 3
T HE LA NGUA GE A ND FO R M O F PO E T R Y
R ead the li ttlep o em o n p age 11 7 si len tly a nd then

a lo ud C o mmi t i t to memo ry to help peo ple y o ur
.
bra in wi th bea u tiful tho ughts I t i s a go o d thin g to .
h a ve such tho ugh ts si n g th er e even i f they do not
fo ld their pi n io ns fo r yo u i n th e ca ge o f So n g or
sto ry .
I n class ta lk a bo u t
po etry, i ts so u n d, an d th e ki n d
of lan guage used in it If o sible, r e ea t li n es of
.
p s p
po etry th at
plea se
y o u beca u se th e th o u
gh t i s be a u ti
f ul a n d is ex pressed i n a beau tiful way .
Wri tten Ex erci se . C op y thep o em nea tly . Wh a t is

th e r ule a bo u t th e fir st wo r d o f ev ery li n e o f po etry ?
A li ne of p oetry is called a verse . Ho w ma ny
”
v er ses i n the po em en ti tled Bir ds In the po em
fo u r v erses ar e gro u ped to gether to fo rm a sta nz a .
H o w man y stan z as i n the po em ? S ho w this d i visi o n

in co i
py gn the
p o em .
Wo rd S tudy
P i n i o ns ar e wings .
T H E S T UDY OF A F A BLE
A man was o n ce d ri v i n g a h eavy lo a d alo n g a very mu ddy

ro ad . P resen tly h e came to a sp o t wher e th e wh eels san k
THE S T UD Y O F A FA B L E 119
h a lf way i n to th e m i r e T h e m o r e th e h o r ses tri ed to p ull

.
t h em o u t, th e d eep er th ey san k A t last th e man thr ew asi d e

.
h i s wh i p, k n elt d o wn an d lo u d ly p r ay ed to H er cules, th e
“ ”
S tr o n g 0 H er cules, h elp me, h elp me !
. h e cr i ed B ut .
H e r c u les an s wered ’
P sh aw, man , d o n t li e th er e i n th e mu d !
:
’
G et u p an d p u t y o ur sh o u ld er t o th e wh eel D o n t y o u kn o w
.
t h at th e go d s h elp th em th at h elp th em selv es
R ead the f a ble si len tly . Why is H er cules ca lled
th e Stro n g H o w m a n y sylla bles in h is n am e ?

N o ti ce tha t the who le sto ry i s to ld i n o n e p a r a
ra h
g p H o w
. i s th e begin n i n
g of a
pa ra ra ph sh o wn ?
g
H o w is th e begin n in g o f each sen ten ce sh o wn Wi th
wh a t m a rk s do sen ten ces en d ? Wh at do quo tati o n
m a r k s sh o w
Wh at a r e sto r i es li ke th e abo v e called ? Wh at les
so n d o es th is sto ry tea ch ?
S tu dy the wo r d 0 . Wh en u sed as a wo r d , 0 is
al ways a capi tal letter .
Wri tten Ex erci ses . I . Wri te the f a ble f ro m mem

o ry . Be ca r e ul a bo ut
f th e po in ts m en tio n ed abo v e .
II . Wri tef r o m di cta ti o n
0 li ttle to wn Of B eth leh em,

H o w sti ll we see th ee li e !
A bo v e thy d eep a n d d r eamless sleep,
T h e si len t star s go by .
Ho w man y v er ses i n th e a bo v e bi t of po etry ?

Wha t v er ses rh
ym e with ea ch o th er ? Wha t wo r ds
in th e thi r d v er se r h
y m e wi th ea ch o th er ?
T H E S T UDY O F A PI C T UR E
I . Lo o k ca r e u lly a t
f the p ictur e, Plo win g . T he
pi ctu re is a fin e o n e, a n d y et h o w simple i t is ! What

w o rk is go in g o n ? Wh o are do i n g i t ? Where do
y o u see th e r esu lts o f i t ? Of wh at u se is it ? Do es

su ch wo r k h a ve to be do n e in o ur co un try ? Is it
d o n e i n th i s way ?
PL O W I NG .
II Wh at sea so n
. of th e yea r i s sh o wn ? H o w wo uld
th e u se of c o lo r s m ak e thi s fa ct pla in er to yo u ?
What co lo r s d i d th e a rtist see in th e fields, h i llsi de,
sk y, wh i le pa i n ti n
g ? What ch a n ges wo u ld y o u see
i n the lan d sca pe in ea rly spri n ? in O cto ber ? mid

g
win ter ?
III Wh at wo rds remi n d
.
y o u o f th e r ule fo r writ
in g n am es o f m o n ths ? o f sea so n s ? of p i ctu res ?
E L E M E N T A R Y L E S S O N S I N E N GL I S H
11 . M a ke two sta te men ts a bo u t each f

O these
A tlan tic Ocea n, co tto n , i r o n, wh eat , steam, electr i ci t

y, bana '
nas, C h r istma s, E so p, July , auto mo biles, walnu ts .
Wri tten Ex erci ses I Wri te f r o m di cta ti o n the

. .
sen tences gi ven f o r stu dy .
II Wri te seven sta temen ts abo ut squa r e measure, i ts

.
u ses o r f a cts i n r e a r d to i t
g .
A N E XE R C IS E IN M E N T A L PI C T UR I NG
F o rm a mi n d p i ctur e of thi s ga r d en i n S ep tem ber

-
I n my gar d en , lo n g r o ws of stately h o llyh o ck s still stand
o n guar d On th e lo w tr ees,
. a f ew peach es sh o w th ei r pi nk
an d d o wn y ch eek s . T h e grapes ar e begin n i n g to tu r n . H ere
a nd th ere I c atch a glea m of u
p pr le o r d ee p r ed . Do no t be
tem pted by th em ! T h ey lo o k f a r better th a n th ey taste .
Why ar e ho llyho cks descr ibed as bein g g on ua r d ?
T hi nk o
f a lu sci o us p ea ch . Do th e wo r ds p i n k and
d o wny help i n m a kin g yo u r m in d pi ctu r e clear ? -

Ho w
d o grapes tur n ? Wh a t i s sa i d o f th eir ta ste ? Why ?
Oral Ex erci se .
—R ea d the d escr ip ti o n a lo u d . Tell
wha t yo u ha ve r ea d .
S entence Ex erci se . S elect five declar a ti ve sen tences .
Wo rd S tudy
S ta tely mean s lof ty, ta ll . L usci o us mean s d elici ous

A d escri p ti o n i s a wor d p i ctu r e -
Glea m mean s gli mp se
. .
Use th e abo ve wo rd s in senten ces o f y o ur o wn .

E XE R C I S E S I N D E S C R I P TI O N 1 23
13 9
E XE R C I S E S I N DE SC R IP T I O N
1 . A Gard en . T hi n k f
O t he ga r d en yo u kn o w bes t .
T ell ho wi t lo o ks at this sea so n T r y to m a k e y o u r

.
cla ssm a tes see in it what y o u see wh en y o u l

p y
a
th er e , or e
p p
e th r o u gh th e fen ce at it . T hey wi ll
wish to kn o w :
Wh o se ga r d en y o u a re d escri bi n g ; wh er e i t i s ; h o w lar ge i t
i s ; h o w p r etty i t i s ; wh at m akes it a p r ett
y gar d en ; wh o
ta k es car e o f i t .
II . A Wi nd o w Gard en . H av e y o u seen th e ti n y
wi n do w gar d en s tha t ci t
y b o y s a nd
gi r ls, w h o lo v e to
ro w
”
see gr een th i n gs g i n g, m a k e f o r th em se lv es ?
Ha v e yo u su ch a
g ia r d en
n y o u r sch o o lr o o m ?
D escr i be a wi n d o w gar d en yo u have seen T ell .
W h er e y o u sa w i t ; wh at it wa s mad e of ; wh at gr w 111
e It ;
h o w i t mad e th e ro o m seem i n d o o r s ; h o w i t lo o ked o ut of
do o r s ; wh o to o k car e o f i t, i f y o u kn o w .
III .
A F rui t S ta nd .
— D escri be a f r ui t sta n d .
Wh er e i t i s ; wh o tak es car e o f it ; wh at ca n be bo u gh t th er e
no w; t h e best thi n g t o bu y .
Wri tten Ex erci se . S elect a top ic na m ed a bo ve .
Cho o se the o ne yo u kno w m o st a bo u t . Wr i te a

p ara
gr a
p h a bo u t it .
Stu d y th e d escr i pti o n on p g

a e 1 22 to gu i d e y o u i n maki n g
up an d a rr a n gi n g th e sen ten ces o f y o u r par agr aph .
140
A N E XER C I S E IN S T O R Y T ELLI NG
H an s C h ri stian An der sen wr o te a C h ar mi n g fairy

”
ta le ca lled Fi ve i n One Po d . In i t h e say s
T h er e were o n ce five peas i n o n e po d T h ey were gr een .

,
th e po d was green, th e vi n e was gr een , th e leaves wer e green,

a d so
n th ey th o u gh t th a t a ll th e wo r ld was gr een — a n d di d
th ey no t h a ve a ri gh t to th i n k so
W eek s went by . T h e p o d became y ello w, an d th e p eas ,

to o , beca me y ello w . A ll th e wo rld i s turn i n g yello w, sai d
”
th ey — an d h ad th ey n o t a ri gh t to say so
C r ack ! th e po d bur st, an d all

fiv e p eas r o lled o ut i n to th e
’
bri gh t sun shi n e T h er e th ey lay i n a li ttle ch ild s h an d
. .
”
J ust th e th i n g f o r my p ea sh o o ter, sai d th e bo y H e p ut .
o ne in at o n ce a n d a way i t fl ew
.
Wh at becam e o f the pea ? If yo u rea d

’
A n d er sen s
sto ry, y will learn C an yo u tell a sto ry o f yo ur
o u .
o wn r ela tin g wh a t beca m e o f a n o th er o f th e pea s ?

,
S entence Ex erci se P i ck o u t five decla r a ti ve sen

.
tences f r o m the sto ry

. With wh at kin d o f letter
.
sh o u ld every sen ten ce begin ? With what ma r k

sho u ld ev ery d eclar ati v e sen ten ce clo se ?
141
A S T O R Y I N VE R S E
We were cr o wd ed i n th e cabi n,
No t a so ul wo u ld d ar e to sleep,
It was mi d n i gh t o n th e waters,
A n d a sto r m was o n th e d eep .
142
HO M E R E A DIN G
‘
H o w h a s yo ur lan d o f S to ry bo o k s gro wn since

“ -
u rea d th e p retty po em o n pa ge 3 8 ? Y o u must

y o
a d d to i t sto r i es i n v er se a s well a s i n pr o se On .
a e 240 o u wi ll fin d a li st o f fin e sto ry po ems -
p g y
.
So me of th e sto r ies a r e m err y an d so m e a r e sa d, but

'
a ll a r e
to ld in la n gua ge y o u ca n u n d er sta n d .
T o enj o y th e sto ry , yo u sh o uld rea d th e po em

thr o u gh ; th en th in k i t o v er car efully a s su ggested
by th ese questi o n s
1 . Wh en d i d th e i n ci d en t h appen
2 . Wh ere d i d i t h appen
3 . Wh o i s th e chi ef a cto r o r wh o ar e th e chi ef acto rs ?
4 . Wh at h appen ed fir st Wh at h appen ed n ex t Why ?
5 . W h at i s th e resu lt o f th e i n ci d en t o r po i n t o f th e sto ry ?
6 . Wh at ex pr essi o n s i n th e p o e m d o y o u li ke best
Use these qu esti o ns i n stud i
y gn or telling an
y sto r
y .
14 3
I NT E R R O G A T I VE S E NT E NGE S
R ea d a lo u d thef o llo wing sen ten ces
1 . Wh er e ar e y o u go i n g
2 . W h o i s go i n g wi th y o u M ay I go
3 . Wh en are y o u co min g back
Ea ch of th e a bo v e sen ten ces ask s a q u est i o n . Sen
ten o es th a t a sk
qu esti o n s a r e ca lled i nterro gati v e sen ;
tences . T he g i
sen ten ces v en a bo v e ar e in ter r o ative
g
sen ten ces. Wh at m ark i s used a t the en d o f ea ch ?
A N E XE R C I S E I N S I L E N T R E A DI N G 1 21
R emember .
—A h i nterro gati ve sentence is a sentence that
ask s a questi o n .
E very i nterr o gati ve sentence sh o uld end wi th an i nterro ga

ti o n po i nt .
Oral Ex erci ses . I . A sk fi ve

questi o ns a bo u t the
p i c tu r e on
p a ge 1 20 .
II A sk thr ee questio ns a bo u t mo un tains o r la kes

. .
III A sk questi o ns a bo u t the p lace i n whi ch yo u live

. .
Wh at a r e sen tences that a sk

questio n s called ?
W h at kin d o f senten ce h a ve yo u gi ven in th ese
ex e r c ises ?
Wri tt en Ex erci ses. I Wri te f o ur
.
questi o ns a bo u t
baseba ll a bo u t se wing a bo u t ska ti ng.
II Wr i te five i n terr o ga ti ve sen tences a bou t luncheo n

. .
III Wri te three i n terr o ga tive sen tences a bo u t the

.
I nd i a ns mini ng o r mi ners
a bo u t .
I V Wr i te two i mp o r tan t questi o ns

. asked in stud
y
i ng the co mmer ce of a co un try .
1 44
A N E XE R C I S E I N S IL E N T R E A DI NG
D o yo u kn o w wh er e E gypt i s H av e y o u ev er seen a
p i ctu r e o f th at gri m mo n ster, th e S p h i n x S h e was th e mbst

f am o u s r i d d le-m ak er wo rld H alf li o n an d h alf wo man,
i n th e .
sh e sat sp eechless ex cept wh en th ere f ell f r o m h er cr uel li p s
thi s q u esti o n , W ha t i s th at an i mal wh i ch walk s o n f o u r legs

i n th e m o rn i n g, o n two at n o o n, a n d o n th ree at n i gh t
Wo e to th e perso n wh o h ad no c o r r ect an swer to gi ve h er !
T h e S ph i n x a te hi m aliv e .
1 28 E L E M E N T A R Y L E S S ON S I N E N GL I SH
On e d ay a v ery wi se man came h er way . T h e Sp h in x ask ed
hi m th e u su al questi o n . S h e was alr eady thi n ki n g wh at a fin e

ti d bi t h e wo uld make, wh en, tO h er surpri se, h e gave th e ri gh t
an s wer ! M an , h e ”
sai d .
“ When h e is a child , h e cra wls
on h an d s an d f eet ; th at i s th e mo rn i n g of lif e : wh en he
beco m es a man, h e walk s erect o n two f eet ; th at i s th e no o n
of hi s lif e : wh en he i s O ld, h e lean s o n hi s can e , an d th a t i s th e

”
ev en i n g o f h i s li f e I t m ad e th e S ph i nx so an gry to h av e
.
h er r i d dle guessed th at sh e k i lled h er self, an d so th e wo r ld wa s
ri d o f a ter rible mo n ster .
Oral Ex R ea d thi s sto ry si len tly D escri be

erci se . .
the Sp hi nx F i nd E gyp t o n the map

. Wh at qu estio n .
di d the Sph in x a sk ? Wh at i s th e co rr ect an swer ?

I s th i s a tru e sto ry ? T ell i t wi tho u t the help O
f
Sp hi nx i s r o n o u n ced S i nks
q uesti o ns. p f .
S entence Ex erci ses . I . C op y the i n terr o ga ti ve sen

tences u sed i n the sto ry .
II . Wri tefive questio ns suggested by the sto ry .
S I LE NT S T UDY O F A PI C T UR E
What sto ry do es th e pi ctur e tell yo u ? Why are so

m a n y peo ple to geth er ? Wh o a r e a t th e h ea d o f the
p r o cessi o n ? W h o , a t th e en d ? W h a t d o th ese f o ur
men ca rr y ? Where ar e th e wo m en ? Why ? Who

i s besid e th e fir st wo m a n ? What d o es he c a rry ?
Wh ere ar e th ese Pilgr ims ? Who ma de th e path ?
E LE M E N T A R Y LE S S ON S I N E N GL I S H
5 . The la n di ng Of the P ilgr ims — place , seaso n, d ate .
6 . F o un d i ng who me wo rk to be d o n e, wo rk er s to o ls
ne , .
7 . L ife i n a n ewco u ntry d an ger d i sco m f o rt, d isease

, .
8 . R elati o ns with I n d ia n s r esults o f ki n d n ess .
9 . S p r ing a n d su mmer wo rk, a u tumn f ea sti ng .
10 . Th e F i r st T ha n ksgi vi ng i ts mean in g .
II I magi ne tha t yo u are the li ttle gi r l sho wn i n the

.
p i ctur e o n p age 1 29 T ell a sto ry to fit this ti tl

. e,
’
A Little Pilgr im s First T han ksgiv i ng .
1 47
AN EXE R C I SE IN S I LE NT R E A DING
H ave y o u ever seen so ldi er s at th ei r d rill H o w d o they

kn o w wh at to d o ? A so ld i er mu st learn to tak e a certai n
n th e mo m en t h e h ear s th e wo rd
“ ”
po si ti o A tten ti o n ! He
beco mes so u sed to d o i n g th i s, th at h e tak es the po siti o n

wi th o u t th i nk i n g, wh en ever h e h ear s the wo rd .
On ce an o ld so ld i er , c ar ry in g h o me h i s di nn er, was cro ssing
so me o n e
“A tten ti o n ”
a mu d d y str eet. S u d d en ly sh o u ted, !
I n stantly th e so ld i er br o u gh t h i s h an d s d o wn to his si d es and
away went h i s mutto n an d p o tato es i n to th e gutter .
What do es the first par agraph tell abo ut ? Can

repea t co m man ds giv en to so ld iers duri ng a
y o u
drill ?
What sto ry is to ld i n th e seco n d par a gr aph Show
ho w a so ldi er sta n ds a t a tten ti o n T hi nk of . a go od
na mef o r thi s sto ry .

I M P E R A T I VE S E N T E N C E S 13 1
148
IM P E R A T I VE S E N T E NGES
R ea d alo u d these gr o up s o
f wo r ds
1 . E x ch a nge yo ur p aper s . 3 . R ead i t car ef ully .
2 . L o o k at th e fir st an swer . 4 . M ark i t .
E ach gro up i s a sen ten ce ex pr essin g a co mmand .
S en ten ces th a t ex pr ess co m man d s ar e called i mpera

ti v e sentences T h e sen ten ces giv en abo ve ar e im
.
p e r a ti v e sen ten ces W h a t m a rk d o yo u fin d a t the

.
e n d o f ea ch ?
Oral Ex erci ses . I . Wha t co mman ds have yo ur
teachers gi ven to day -
II Gi ve a co mmand to a p up il who m yo ur teacher

.
wi ll name .
What are senten ces that ex press co mman ds called ?

Wh at ki n d o f sen ten ce have y o u gi ven i n th i s
lesso n ?
Wri tten Ex erci se .
'
F o rm i mp era ti ve sen ten ces
1 .
y o u r f a ce . 6 .
y o u r lu n ch slo wly .
2 .
y o u r h ai r . 7 .
qu i etl y .
3 .
y o u r teeth . 8 .
p o li te.
y o u r n ai ls. 9 . th e truth .
5 to sch o o l earl . 10 ki n dly

.
y . every o n e .
S entence Ex I Wri te f o ur i mp er a tive sen

erci ses . .
tences used i n wo rki ng wi th n umber s i n ar i thmeti c .
II Wri te five imp era ti ve sen tences tea chi ng a girl

.
,
ho w to set a ta ble; a bo y ho w to wa ter a ho rse .
III C op y imp er a tive sen tences f ro m yo ur reader

. .
E L E M E N TA R Y L E S S O N S I N E N GL I S H
149
R EQUE ST S O R E NT R E A T IE S
T her e are so me per so n s who m i t is no t p ro

per fo r
y o u to co m m an d . In th eir case, yo u
p ex what
ress
y o u wish th em to do in a mo re a ppr o r i ate w

p ay .
Yo u request o r entreat wh en yo u may n o t co m man d ;
th us,
M o th er, please buy me a kn if e .
Ki n dly gi ve me so me paper, Miss Kane .
H elp us, d ear L o r d .
Pro tect us by T hy mi ght, great Go d, o u r Ki n g .
T h ese sen ten ces also a re called i mperati ve sentences .
R emember . A n i mperati ve sentence is a sentence that ex
pr esses a co mmand o r an entr eaty.
Observati o n .N o ti ce tha t the wo r d Go d begi ns wi th

a ca i ta l letter Go d i s also spo ken o f a s th e Dei ty
p . .
Go d , L or d , Ki ng, a re n a m es o f th e Deity With .
what ki n d of letter d o es ea ch n a
m e begi n ?
R emember . Names o f the Dei ty sho uld begi n wi th capital
letters
—N
.
Oral Ex erci se . am e i
f pve er so ns to who m a child
may no t p r op er ly give co mman ds A ddr ess a r equest

.
o r an en tr ea ty to each, usi ng the wo r ds

plea se, if you
please, ki n dly .
Word S tudy
1h co mma nd mean s to o r d er, to d i r ect, to bi d .
TO r equ est mean s to ask as a f a vo r .
To en tr ea t mean s to ask ear nestly, to beg .
G i ve senten ces sh o wi n g wh at th ese wo rd s mean .

134 E LE M E N T A R Y L E S S O N S I N E N G L I S H
S ea figh ts an d lan d fights, grim an d gr eat,
F o u gh t to mak e an d to sa v e th e S tate :
Weary march es an d si n k i n g shi ps ;
C h eers O f vi cto ry on dyi n g li ps ;
Day s of p lenty an d y ear s o f p eace,

’
M arch of a str o n g lan d wift i n crease ;
s s
E q u al j usti ce , ri gh t an d law ,
S tately h o n o r an d rev er en t awe ;
S i gn of a n ati o n , gr eat an d stro n g,
To war d h er p eo ple f r o m fo rei gn wro ng

Pr i d e an d glo ry an d h o n o r all
Li ve i n the co lo r s to stan d o r falL
H ats o ff
A lo n g th e str eet th er e co mes
A blare of bu gles, a r ufi e o f d r ums;

A n d lo yal h earts a re beati n g h i gh :
H ats Off
T h e fl ag i s passi n g by !
- H H BEN N E T T
. . .
T he o ne who wro te th ese spir i ted

lin es ho ped to
stir str o n
g feeli ng in th e hea r ts o f all wh o r ead th em .
In a ll a ges
po have d o n e gr ea t ser vi ce to th e c au se
ets
o f li ber ty by r o usi n g m en to d eed s o f splen di d co u ra ge
th ro u gh th eir po em s an d so n gs Ev en ch ildr en can .
’
feel th e sp ir it o f th e po et s so n
g, an d i n th ei r h ea r ts
lo ve o f co u n try is a waken ed .
T r y to see ever i ctur e i n the o em L ear n the

p y p .
first, seco nd , fif th, and last sta nzas by hear t .

E XC L A M A T OR Y S E N TE N C E S 135
15 2
E XC L A M A T O R Y S E NT E NC E S
R ea d alo u d the f o llo wi ng sen tences
1 W hat a beauti f ul r o se th at i s ! 2
. . H o w large i t i s !
3 . H o w sweet i t smells ! 4 W h ew! th o se . th o r n s ar e sh arp !
E a ch of the abo v e sen ten ces n o t o nly ex

pr esses a
co m lete th o ugh t , bu t sh o ws stro ng f eeli ng a s well

p .
Sen ten ces li ke th e a bo v e, th a t ex press str o n g feeli n g,

are ca lled ex clamato ry sent ences Wh at m ark i s u sed .
at th e e n d o f ea ch ?
R emember . An ex clamato r y sentence is a sentence that ex
presses str o ng feeli ng . An ex clamato ry sentence sh o uld end
wi th an ex clamati o n po i nt .
Oral Ex erci ses . I . A big fir e n ear

yo u r ho m e .
M a ke sen tences ex
p ressi ng y o ur
f eeli n
g a bo u t it .
II A v a lu able
.
pur se lo st . M ake sen tences tha t
sho w yo ur f eeli n i n d i ng i t
g on
f .
Wh a t a re sen ten ces th a t ex

p ress str o n g feeli ng
called ? Wha t k in d o f se n ten ce ha ve y o u gi ven i n
this lesso n ?
Wri tten Ex erci se . F i ll the bla nks to f o rm ex cla ma

tory sen tences. P u nctua te p r op er ly
1 . a d ay i t i s 3 . th e sn o w
2 . th e i ce gli sten s 4 . th e wi n d
S entence Ex erci ses . I . Yo u a re o ne of a j o lly
pi cn i c par ty . Wri te f ive ex cla ma to r
y sen tences ex
p ressi n
g y o u r
f eeli ngs o u the way ho me .
II C opy six ex cla ma to r ro m this bo o k

.
y sen tences
f .
E L E M E N TA R Y L E S S O N S I N E N GL I S H
15 3
’
Octo ber s B ri gh t B lue Weath er
0 su n s a n d ski es an d clo u d s o f Jun e ,
An d fl o wers J u n e to geth er,

of
Ye cann o t r i v al f o r o n e h o ur
Octo ber ’
s bri gh t blue weath er ;
Wh en lo ud th e bumblebee mak es h aste,
B elated, th r if tless v a gra n t,
A n d go ld en ro d i s d yi n g f ast,
A n d lanes wi th grapes are fr agrant ;
Wh en gen ti an s r o ll th eir f ri n ges ti ght

To sa ve th em f o r th e mo rn i ng,
A nd ch estn u ts f all f r o m sati n bur s
W i th o ut a so un d of war ni n g ;
Wh en on th e gro un d r ed ap ples li e
I n p iles lik e j ewels sh i n i n g,
A n d r ed d er still o n o ld sto n e walls

A r e leaves of wo o d bi n e twi n in g ;
Wh en all th e lo vely waysid e th i n gs
T h ei r wh ite wi n ged
- seed s ar e so wi n g,
A n d i n th e field s, sti ll gr een an d f ai r,
L ate af ter math s ar e gr o wi ng ;
Wh en S pr i n gs run lo w, an d o n th e br o o ks,
I n i dle go ld en f r ei gh ti n g,
B r i gh t lea ves si n k n o i seless in th e h ush
Of wo o ds, fo r wi nter wai ti ng ;
Wh en co mr a des seek sweet co untry haunts,
By two s an d t wo s to geth er,
P A R A GR A P H WR I T I N G — B IR D S 139
11 . Wri te sen ten ces telli ng wha t i s d o ne at ho me

when p
s r i ng co mes . C o m bi n e the .
sen ten ces to f o rm a
h C o rr ect an d co th ra ra h
p ar a gr a
p .
py e
p a g p .
I . P A R A GR A P H WR I T IN G B I R DS
1 . Wri te a
p ar a gra
p h telli ng wha t y ouha ve O b
s er ved a bo u t bi r ds i n a u tumn . When y o u hav e m a d e
ev ery wo rd per ec t f in s ellin g, ev ery sen ten ce

p p er ect f
i n th e u se o f ca pita l letter s and
p u n ctu a ti o n m ar k s,
and h av e also m a d e i t i n ter esti n g i n m ea n i n g, co
py
the p a r agr ap h i n to yo ur n o tebo o k .
Wh a t do th ese n o tes suggest to yo u ?

D ay s gr o w sh o r ter , co ld er nu mber of bi r d s so n gs
fl o ck s in sky so me br av e bi r d s fo o d c o ld .
2 . I n the sp ri ng, wr i te a p a r agr ap h as f o llo ws

D ay s len gth en bi r d s r etu r n so n gs co ld sn aps n est
in g j o yo us ca r o li n g.
Wo rd S tudy
TO O bserve mean s to n o ti ce wi th ca r e
. E ar s as well as e es
y
ar e u sed wh en we o bser v e. W h at else m ay b e u sed ?
TO suggest m ean s to ma ke or ca use y o u to thi nk .
—A n
.
Ho me R ead i ng . i n ter esti n g li ttle bo o k i s T h e F i r st

Bo o k of B i r d s, ”
wr i tten by a tr ue lo v er of
“
th e li ttle br o th er s
”
of th e ai r , Oli ve T h o r n e M iller . R ead i t o r so m eth i n g eq ually
go o d . M ak e n o tes a s
y o u r ea d . H er e i s a n o u tlin e to h elp
y o u in o bser vi n g, in n o te m aki n g, an d in wr i ti n g
1 40 E L E M E N T A R Y L a sso ms I N E N GL I S H
1 . A rr i va l bi r d s y o u see fir st i n spr i n g.
2 N ests wh ere and h o w bu ilt W ho d o es th e wo rk

—f
. .
3 . N estli ngs o o d, f eath er s, fir st fli gh t .
4 . P a r en t bi r d s fo o d , sleep, tr a vels, f amily, f r i en d s,

ch an ges i n lo o k s of f ath er, of m o th er .
5 . H o w bi r ds help to mak e th e wo rld bri gh t an d beau ti f u l .
6 . B i rd sto r ies.
S o me Poems On e o f th e mo st ch arm i n g po ems i n E n gli sh

.
tells th e li f e sto ry o f a li ttle bi r d , lo vi n gly called R o ber t o f

Li n co ln .
”
It was written by W illi am C ullen Bry an t, o ne o f
’
A mer i ca s best n atu r e po ets . R ea d i t, if po ssi ble, an d n o ti c e
i ts fin e wo rd pai n ti n g
-
. Oth er p o ems wo rth kn o wi n g ar e
The S wa ll w — Cho . r i sti n a G . R o ssetti .
The S wa llo ws N est

’
.
—E d win A rn o ld .
The B lu e J a y S usan H ar tley S wett

. .
The B ro wn Thr u sh L ucy L a rco m . .
I/
ittle B ell W illi am W estwo o d
. .
The S a n dp ip er an d Wi ld Geese . C eli a T h ax ter .
T he E a gle an d T he Owl . A lf r ed , L o r d T en n y so n .
T he Do ve . J o hn Keats .
T he F i r st Blu ebir d . J ames Wh i tco mb R i ley .
The S kyla rk J a mes H o gg

—S
. .
’
A nswer to a C h i ld s Q uesti o n . . T . C o leri d ge .
II . P A R A G R A PH W R IT I N G T R EE S
1 . Wri te a
p ar a
gr a p h telli n
g wha t yo u have ob
ser ved a bo u t tr ees i n a u tumn . C o rr ect the p ar agrap h .
C op y i t in to yo ur no tebo o k . Spea k f
o :
Day s sh o r t, gr o w co ld er f r o st — p a i n tin
g th e leaves
lo o ki n g u p at sky th r o u gh lea v es wi n d —b ran ch es, bu d s .
2 . I n the sp ri ng wr i te a bo u t :
1 42 E LE M E N T A R Y L E S S ON S I N E N GLI S H
15 8
’
C hi ld s Play
I will no w d escr ibe a ga me th at ga ve A n to in ette an d me

th e greatest pleasur e d u r i n g two d eli gh tful su m mer s .
We pr eten d ed to be t wo caterpi llar s, an d c rep t alo n g fl a t

on th e gr o un d , h u nti n g f o r lea v es to eat . A fter d o i n g th a t
a lo n g ti m e, we la
p y ed th a t we wer e sleepy , o h , so sleepy !
We lay d o wn i n a co r n er an d co v er ed our h ea d s wi th our
ap ro ns —w e h ad beco me co c o o n s ! If a ny o ne h ad li sten ed .
to us, he wo uld h a v e h ear d u s say so meth in g li k e th i s :

“ Do
y o u th i n k th at y o u wi ll so o n be able to fl y ?
”
’
Oh , y e s ! very so o n . I alr eady f eel my wi n gs, an d th ey ll
”
so o n u n f o ld .
A t last we wo k e u p, stretch ed o ur
selv es, an d p r eten d ed to be gr eatly as
to n i sh ed . T h en su d d en l
y we ra n li gh tly
abo ut o n ti pto e s, wavi n g o u r apr o n s as
if th eywer e wi n gs, and h asten i n g f r o m

flo wer to flo wer .
P I ER R E Lo u .
(A d a ted
p )
.
Oral Ex D escr ibe the game these

erci se .
p la yed H
. o w d i d th ey le a rn to l
p ya i t ? H o w o ld
d o y o u th in k th ey wer e ? H a v e yo u ev er atten d ed
a ki n d er gar ten ? If so , d escri be so me game tha t yo u
r emember D escr i be g m la ed b ld hild r en
. a ea
p y y o er c .
P A R A GR A P H WR I T I N G I N S E C TS
15 9
IV P A R A G R A P H
. WR IT IN G —IN SE C T S
1 . Wri te a
p p h telli ng ho w i nsects
a r a gr a
p p
r e a r e
f or win ter . C o rr ect the p ar a gr ap h a nd cop y i t i n to

o u r no tebo o k f f T hi nk
y or u tur e use . o
f
C o ld en emi es bees cater pillar s
2 . Wri te a p ar agr ap h telli ng ho w i nsects leave thei r

sn ug wi n ter cra d les.
H o me R ea di ng . It i s a si gn o f a gen tle sp i r i t to tak e n o te
o f th e li ttle cr eatu r es th at peo ple th i s gr eat wo r ld of o ur s.
P o ets lo o k in to th e m ean in g of all fo rms of li f e

. T h ey fin d
th i n gs to say th at y o u an d I sh o u ld n ev er th i n k o f. S o me
ti m es th ey say th ese th i n gs i n a beau ti f ul way , so meti m es in
a h u m o ro u s or wh i msi cal, y et d eli gh tf ul way, as y o u may learn
f r o m th ese p o em s
A ll Thi n g B r ight a n d B ea u tiful

s .
-
C ecil F r an ces A lex an d er .
L ad ybi r d , L a d ybi r d . C ar o li n e B S o ut h ey. .
H o w d o th the L i ttle B u sy B ea —I saac W att s .
The B ee a n d the F lo wer .

—A lf r ed , L o r d T enn y so n .
T h e H o usekeep er . C h arles L amb .
To a B utterfl y .
—W illi am W o rd s wo r th .
Whi te B u tterfl i es .
-
A lgern o n C h ar les S wi n bu rn e .
To an I n sect —Oli ver W end ell H o lm es

—S
. .
H e p ra yeth well who lo veth well .

”
amu el T aylo r C o le
ri d ge (f r o m th e
“
R i me of th e A n ci en t M ar i n er
If po ssible , r ea d o n e o r mo re of the po em s . Co m
m i t to m em o ry o ne tha t plea ses yo u .
144 E L E M E N TA R Y L E sso N s I N E N GL I S H
160
C OM PO SIT I O N T I T LE S
R ead f ro m yo ur no tebo o k the p a ragrap hs called f or
i n E x er cise 1 , o f L esso n 1 5 7 . P u t the p a ragrap hs to

gether to f o rm a co mpo si ti on wi th o ne of these ti tles
1 . A utumn .
2 . W h en A ll T h i n gs li e d o wn to S leep .
3 . H o w N atu r e P r epares f o r W i n ter .
4 . G etti n g R ead y f o r H ar d T i m es .
5 . T h e F all of th e Y ear .
Observe ho w these n a mes or ti tles ar e

p r in ted .
Wha t i s the rule fo r wr itin g an d

pla ci n
g such ti tles ?
C an yo u co mbin e i n to o n e co mpo siti o n th e para
ra h s called
g p fo r in E x er ci se 2 of Le! so n 157 ?
Wh a t is a p p
r o er ti tle fo r such a co mpo si ti o n ?
Wo rd S tud y
C o mp o si tio n m ean s p u tti ng to gether .
161
A LI T T LE LE S S O N IN HIS T O R Y
S tudy the f o llo wing n o tes . A sk questio ns about

them . Use them as an o u tli ne f o r A Little H isto ry
”
of Old Glo ry .
I . L o n g, lo n g ago man y flags .On e fl ag ch osen as the
A m eri can fl ag Jun e 1 4, 1 7 7 7 , P h ilad elph i a .
II . B etsy R o ss th i r teen str i p es th i rteen stars.
III . N ew star s i n th e fl a g ; wh ere th e fl ag fli es .
IV . M eani n g o f th e co lo r s o f th e fl ag .
O
164
A S T O R Y T O BE R ET O LD
T h er e wa s a li ttle bo y o f wh o m L o n gf ello wwas v ery f o nd,

an d who ca me o f ten to see hi m O n e d ay th e ch i ld lo o ked
.
ear n e stly at th e lo n g ro ws of bo o k s i n th e li br ar y , an d at
len gth “ H av e ‘J ack G i ant K ’

sai d , y o u go t th e iller
L o n gf ello w was o bli ged to co n f ess th at h i s li bra ry di d no t
co n tai n th at v en er ated v o lum e.

T h e li ttle bo y lo o k ed very
so r ry, an d p re sen tly sli p ped d o wn f r o m h i s k n ee a n d went
,
a way ; bu t ea rly th e n ex t m o r n i n g, L o n gf ello w sa w h i m co m
i n g u p th e walk wi th so meth i n g ti gh tly cla sped i n hi s li ttle

fists . The ch i ld h ad br o u gh t h i m t wo cen ts wi th wh i ch he
was to buy a
“ J ack th e G i an t Ki ller ”
to be h i s o wn .
A u th o r s an d Fr i en d s,
"
A NN I E F I E DS L .
Oral Ex er ci ses . I . R ead this sto ry . D ecid e up o n

a go od ti tle f o r i t .
II . T ell the sto r y . M en ti o n these p o i n ts :

T he ch a r acter s i n th e sto ry —wh e re th ey wer e —th e li ttle
bo y ’
s q u esti o n —L o n gf ello ws ’
an s wer to i t an d wh at i t caused
th e li ttle bo y t o d o .
16 5
HO W QUO T A T I O N S A R E P UN C T UA T ED
A s yo u wi n th e la st lesso n a wr iter so m eti m es uses

sa ,
or q u o tes th e ex a ct wo r d s o f a n o th er
per so n W o r ds .
so u sed a r e ca lled quo tati o ns a n d wh en they a r e writ ,
ten they m u st be in clo sed in quo tati o n mark s ; th us,

1 . J ames sai d ,
“I h ea r d th e b ell ri n g .
2 . M o th er ask ed , Who is at th e d o o r ? ”
J ames ex cla i m ed ,
“ I t’ ”
3 . s Un cle S am !
A L E S S O N F OR P R A C TI C E
Wh at separ a tes ea ch qu o ta ti o n fro m o th er wo rds ?

W ha t is the qu o ta tio n in th e first sen ten ce ? T he
u o ta ti o n i s a statement ; qu o ta tio n m ark s i n clo se
q
t h e sta temen t a n d th e per i o d wi th wh i ch i t en d s .
Wh a t i s th e qu o ta tio n i n th e seco n d sen ten ce ?

T h e qu o ta ti o n is a d i rect qu esti o n ; qu o tatio n m arks
i n c lo se bo th questi o n a n d i n ter ro ga ti o n po in t .
Wh at i s th e qu o ta ti o n i n the th ir d sen ten ce ? T he

u ta ti o n i s a n ex cla mati o n ; qu o ta ti o n mark s in clo se
q o
b o th qu o ta ti o n an d ex cla ma tio n o in t
p .
W ri tten Ex erci se . C op y the n um ber ed sen tences .
Wri te them f ro m di cta ti o n .
166
A LE S S O N F O R PR A C T IC E
I . L i sten to questi o n s asked by two pup i ls who m

y o ur teacher wi ll n a m e R ep ea t ex a ctly wha t ea ch o n e
.
s a ys . Wh a t k in d of sen ten ce d o es ea ch o ne
gi ve ?
Wri te ea ch qu esti o n a s a
q u o ta ti o n i n thi s f o rm
a sk ed , i n q u i r ed ,
II L isten to sta temen ts ma d e by p up i ls

. . R ep ea t
ex a ctly wha t ea ch p up i l sa ys Wh a t kin d o f . sen ten ce
d o es ea ch o ne gi ve Wr i te ea ch as a
qu o ta ti o n :
sai d , d eclar ed ,
III . L i sten to ex cla m a ti o n s m a de by two p up i ls .
A r e th e ex cla ma tio n s co mplete sen ten ces ? Wri te

each as a q u o ta ti o n ; thu s,
cr i ed, sh o u ted,
t
148 E L E M E N T A R Y L E sso N S I N E N GL I S H
167
Q uo tati ons at th e B egi nni ng of S entences
S tudy these sen ten ces ca r e u ll f y

1 . Wh o se ty pewr i ter i s th i s asked C h arles .
2 .
“ I t’
s G ’
o rd o n s
”
id sal A bert
, .
3 “H o w I’
d li k e ”
ex clai m ed
. o ne ! C h arles .
Wh at qu o tati o n s do yo u fin d in th e sen ten ces ?

In wh at po siti o n in th e sen ten ce d o y o u fin d each
q u o tati o n ? Obser ve ca r full

e y ho w each
qu o ta ti o n is
un ctua ted .
p
Wri tten Ex C op y the number ed sen tences
erci se . .
Wr i te them f ro m di cta ti o n Use them as a guid e in .
wri ting simi lar qu o ta tio ns .
168
Di vi d ed Q u o tati o ns
1 . Wh ere di d y o u get y o u r ty p ewri ter, G o rd o n asked
C h arles .
2 .
y
“M
f ath er ga v e i t t o m e, repli ed G o rd o n ; “ it was a
’
C hr i stm as pr esen t I sn t i t a fin e
. o ne
3 .
“ I sh o uld sa so ! ” ex clai med
y C h ar les.
“I wi sh so me
one wo uld gi v e m e su ch a p r esen t.

”
Observe tha t the quo ta ti o n i n the seco nd sen tence

is a d i vi d ed quo tati o n Wh ich wo rd s do n o t fo rm a
.
par t o f wh at C o r do n sa i d ? H o w are these wo r ds

sepa r a ted fr o m th e qu o ta ti o n ? What part o f the
u t t i o co m e b f r e th ese wo rd s ? N o tic e that
q o a n s e o
qu o ta ti o n m ar ks i n clo se this
p a rt W h at fo llo ws the .
17 0
T H E S T UDY O F A PIC T UR E
L o o k lo ng a t this bea u tif ul p i ctur e . Feel th e quiet

o f the even i n g if yo u can Stu dy . well th e sturdy
END OF DA Y .
’
m an , str o n g yet weary fr o m h i s lo n g d ay s t o il
. No te
th e ro a d ; t h e fin e t rees ; th e s trea m, ch a tter i n g with
j oy an d r eflec ti n
g th e ev en i n g glo w . F in d these
thi ngs i n the p i ctu r e, if yo u can , a n d then tell a bo ut
them .
Wri tten Ex erci se M a ke a li ttle p la n of the o r der

.
in whi ch yo u wi ll sp ea k of them Wri te o u t ca r efully

.
wha t yo u thin k of ea ch o ne .
TH E P A R T S OF A S EN TEN C E
17 1
A N E XE R C I S E IN S T O R Y W R IT ING
It was v ery early i n th e mo r n i n g ; so ea rly th at th e su n
was no t y et u p, b ut th e bi r d s wer e awak e an d were so f tly
c h i r p i n g an d calli n g. S o me o n e else was awak e to o . L i ttle

E li za beth h ad been p r o m i sed a v i si t to th e c o u n tr
y; sh e wa s
to sta r t thi s v ery mo r n i n g As . so o n a s sh e h ear d so m e o ne
sti r ri n g, sh e sp ran g o ut o f bed , r an to th e win d o w an d

F i nish the sto ry by telli ng
W h at ki n d o f weath er E li z abeth f o un d, h o w sh e felt abo ut
an d wh at sh e d i d d ur i n g the r est o f th e m o r n i n g .
17 2
T HE PA R T S O F A S E N T EN C E
S tudy the f o llo wi ng sen ten ces
1 . T h e go o se lai d go ld en eggs .
2 . T h e mi lk ma i d to ssed h er h ead .
A bo u t what d o es th e fir st sen ten ce tell ? Wh at is

sa i d o r a sserted a bo u t th e go o se
A bo ut wh a t d o es the seco n d sen ten ce tell ? What
is sa i d o r a sse rted a bo ut th e mi lkma i d
E v ery sen ten ce i s m a de u
p of two pa r ts ; wh at th e
sentence tells abo ut and wh at th e sentence sa s o r
y
tells . Wha t th e sen ten ce tells a bo ut is called th e
sub ect o f
j th e sen ten ce, an d wh a t it sa
ys or tells
is ca lled th e pred i cate of th e sen ten ce .
Oral Ex erci se .
—Wh at is th e sub ect o f each o f
j th e
abo v e sen ten ces ? What is th e pred ica te o f ea ch ?
17 3
T H E S UBJ E C T - O F A S E N T EN C E
L earn this d efin i ti o n

T he j
sub ect o f a sent ence names th a t of whi ch so me
th i ng i s sai d o r assert ed .
Oral Ex erci se . In each of th ese sen ten ces which

wo rd na mes th a t of wh ich so m ethin
g i s sa i d ?
Edna r ead s. Wi lla rd p a i n ts. M en wo r k . W o men vi si t.
G i r ls stu d y . C h i ld r en play . B o ys whi stle . S tar s twin kle .
N a me the su bj ec t o
f ea ch sen ten ce gi ven a bo ve .
Wri tten Ex erci ses . I . S up p ly j

su b ects i n the f o l
lo wi n g sen tences To . th in k of p ro
per su b ects, ask
j
y o u r sel f su ch qu esti o n s a s th ese : Who fa lls ? What
falls ? Who cr ies ?
1 . f alls . r o ar .
2 . c r i es .
3 . talk s .
4 . f reez es . cr eep .
II . Use the f o llo wing wo r d s as su b ects j

1 . Wo o d ,
c o al, ga s, o il, stea m .
2 . H o u ses, st o r es, sh o p s, bar n s, sch o o ls.
3 . I , y o u, h e, we, th ey .
17 4
T HE P R E DI C A T E O F A SE NT E NC E
L ea rn this d efin i ti o n
T h e pred i cate o f a sentence i s t h at whi ch
asserted o f th e sub ectj .
Wri tten Ex erci se Use the f o llo wing gr o up s

wo r ds as sub ectsj
1 . T he summi t o f a mo u ntai n .
2 . T he water of th e o cean .
3 . T h e lar gest c i ty i n th e wo rld .
4 . T h e battle of B un k er H ill .
5 . A bo y i n th at ro w .
17 6
GR O UPS O F W O R DS A S P R E DI C A T E S
R ead thef o llo wi ng sen tence ca r e ully f

M i str ess B etsy R o ss m ad e th e fir st A m eri ca n fl ag .
What is the su bj ect o f th e sen ten ce ? Wh at i s sai d

o r a sserted o f th e j
sub ect ?T h e pr ed ica te o f the sen
ten ce i s a gro up o f wo rd s , mad e the fir st A meri ca n fl ag .
Oral Ex erci se . What g ro up o f wo r ds i s the pred i

cate in ea ch o f th ese sen ten ces ?
1 . A new pu p i l is si tti n g i n th e f r o n t seat.
2 . She i s stu d yi n g h er lesso n d i li gen tly .
3 . H er si ster is no t i n th i s grad e .
4 . B o th gi rls a r e v er y p retty .
5 . T h ey wi ll so o n fin d f ri en d s am o n g th ei r classmate s .
Wri tten Ex erci se . Use the f o llo wi ng gro u p s o

f
i s th e ca p i tal o f th e Un i ted S tates .
was th e fir st P r esi d en t of th e Uni ted S tates .
ar e f r o z en r ai n d ro p s.
ar e d r i ed grapes .
is a po rti o n o f land n early su rr o un d ed by water .

TH E P OS I T I ON O F S UB J E C T A N D P R E D I OA T E 1 55
17 7
T H E PO SI T I O N O F S UBJ E C T A N D PR E DI C A T E
In each of th e fo llo win g sen ten ces th e j

sub ect is
p r i n ted in i ta li cs . N o ti ce i ts p o si ti o n .
1 . A un t M nn ie is at ho me .
2 . H ere co m e the ch i ld r en !
3 . Wh er e i s M a ud
4 . Will Da n call f o r h er ?
5 . G 0 wi th h i m F r an k , .
W h ere do yo u fin d the subj ect in the fir st sen

ten ce ? Wh at kin d o f sen tence is it ? Wh er e is
th e su bj ect i n the seco n d sen ten ce ? What kin d o f
sen ten ce is i t ? Where i s the subj ect in the th ir d
sen ten ce ? Wh at ki n d o f sen ten ce is it ? What
o th er sen tence i n th e ex erci se i s lik e i t ? Wh er e is
i ts su bj ect ? Wh a t k i n d o f sen ten ce i s th e fifth ? In
i mper ativ e sen ten ces th e sub ectj is u sua ll
y n o t ex
pr essed ; i t is th e li ttle wo rd
y ,
o u wh i ch i s m er ely
th o u gh t o f o r und er sto o d Sen ten ce 5 . r ea ll
y m ea n s,
Yo u go wi th him ,
as we so m eti m es say , Yo u keep still .
Oral Ex erci ses . I What

. is each sub ect j
1 . A r e y o u r berr i es r i pe
2 . S n ug an d saf e i s h i s n est .
3 . G i v e me o f y o ur b a r k , O B i r ch t
- r
ee !
4 . Where go t h e b o ats
5 . Si n g a so n g o f seaso n s .
6 . How s weet th ese apples ar e !
7 . H a ve y o u slept well ?
1 56 E L EM E N T A R Y L E S S O N S I N E N GL I S H
II What
. kin d o f sen ten ce a r e th ese ?
1 . R o ck s mak e so il .
2 . Water cau ses r o ck s to cru mble .
3 . S o li d r o ck i s f o un d u n d er th e so i l .
4 . S pri n gs are f o u n d i n th e r o ck s.
C hange them to i n terr o ga ti ve sen tences thus,

Do es water ca u se r o c k s to c ru m ble ? Wh at ch an ge
is ma de i n th e po si ti o n of th e su b ect
j ?
T H E A R R O W A N D T H E S O NG
I sh o t an a rr o w i n to th e ai r ,
I t f ell to ea rth , I k n ew n o t wh ere ;

F o r, so swi ftly i t fl ew, th e si gh t
C o uld no t f o llo w i t i n i ts fl i gh t .
I br eath ed a so n g i n to th e ai r ,
I t f ell to ear th , I k n ew not wh ere ;

Fo r wh o h as si gh t so k een an d str o n g,
T h at i t c an f o llo w th e fli gh t of a so n g
L o n g, lo n g af ter war d , i n an o ak
I f o un d th e a r r o w sti ll u n br o k e ;
,
A n d th e so n g, f r o m begi nn in g to en d,
I f o un d a gai n i n th e h ea r t o f a f r i en d .
HEN R Y W . L O N G F EL L O W .
R ea d this p o em thr o ugh . Wh at m in d pictu re do -
you
g et fr o m each sta n za ? Wh o br eath ed in to the
a ir th i s fin e po em ? L ea r n i t by hea r t .
18 0
A S T O R Y S UG GE S T E D B Y A PIC T UR E
Yo u a re wr apped p i n th e sled ge sh o wn
u on p g
a e
157 . T ell th e sto r y o f th e r i d e, r ela tin g
Wh ere i t bega n wh en
i t began wh at h appen ed early i n
th e d ay — th e sn o w an d sto r m —
h o w th e r o ad became m o r e
an d m o r e lo n ely th e track s f ai n ter —l o st
T he co mi n g n i gh t th e b o wli n g of th e wo lv es —th e tir ed

h o r ses th e attack y o ur f eeli n gs wo lves o n bo th si d es
th e last h alf mi le th e h o r ses saf e at las t .
What sen ten ces ex pr ess str o n

g f eeli n
g ? Will su c h
sen ten ces a dd s ir it to y o ur sto ry
p
Wo rd S tudy
I t begi n s to sn o w . I t bega n It has begun

I t is begi n n i ng to sno w.
R epeat th ese wo rd s alo u d . M ak e th em mean mo re .
18 1
O R A L R E VI E W
I n to wh at p arts may e very sen ten ce be d i vi d ed

W h at i s th e j
su b ect o f a senten ce E x ample .
W h at i s th e p r ed i cate o f a sen ten ce E x ample .
N a me th e su bj ect an d pr edi cate o f th ese sen ten ces

1 A r o lli n g sto n e gath er s n o mo ss
. .
2 . I pled ge allegi an ce to my fl ag .
3 . B egi n i n ti me to fin i sh wi th o ut hur ry .
4 . C an y o u see th e n ew moo n
5 . H er e c o mes th e bo y !
N O UN S
18 2
N O UN S
I N ame a p erso n who m yo u see no w

. .
II N ame thep la ce where yo u li ve n o w

. .
III N a me a thing tha t yo u can to uch no w

. .
Wo r d s tha t ar e u sed a s n a mes a r e ca lled no uns .
T he n am es th a t yo u gi v e in I II , ,
an d III a r e n o un s .
R emember . A no un is a wo rd used as the name o f a per
so n , place, or thi ng .
Oral Ex erci se . Gi ve na mes as f o llo ws

1 . Of five per so ns wh o m y o u kn o w well .
2 . Of th ree lar ge c i ti es .
3 . Of two flo wers .
4 . Of si x th i n gs u sed at table .
5 . O f f o u r par ts o f a bo o k .
6 . Of ei gh t th i n gs seen i n th e pi ctu r e on p g
a e 157
What are wo rd s that ar e u sed a s n am es c alled ?

R ep ea t ten n o uns tha t yo u ha ve used in this lesso n .
Wri tten Ex erci se . C op y the no un s
1 . G r eece i s a small co u n tr y o f so uth er n E ur o p e .
2 . I t h as a ver y cr o o k ed co a st li n e wi th man y p en i n su la s ,
i sla n d s, d eep bay s, an d fin e h arbo r s .
3 T h e su r f ace o f th e lan d i s h i gh
. a n d r o ck y .
4 . T h e p eo ple wh o li v e i n th i s co u n try a r e called G r eek s .
5 . A t o n e ti m e, th e G r eek s wer e th e f o r emo st peo ple o f th e

wo rld i n lear n i n g, go v ern men t, an d ar t.
Wo rd S tudy
N o un mean s na me .
C O MM O N A N D P R OP E R N O UN S 1 63
T he no un gi r l ma y mea n a n y a n d ev ery ir
g , l but
th e n o un R achel belo ngs to a
pa rti cular gi r l .
A n o un th a t n a mes an o n e o f a class is ca lled a

y
co mmo n no un ; bo y i s a co mmo n no un .
A n o un tha t n a m es a
p a rt i cu la r
p erso n is ca lled a
p p
r o er n o un ; I saa c i s a ro
p p er n o un .
T he wo rds co mmo n an d ro
p p er are also used in
spea k in g o f the n a m es o f l or thi n gs ; thus,
p ac es
M o u nt W ashi n gto n is a h i gh mo un ta i n .
M o n d ay i s th e fir st sch o o l d ay of th e week .
G reece i s a bea u tif ul co u n tr y .
M ount Washingto n M o nd ay , ,
an d Gr eece are ro
p p er
n o uns ; m o unta i n , d a y, a n d co un try are th e co rr e
spo n di n g co mm o n n o u n s .
R emember . A ll prOper no uns sho uld begi n wi th
Ex erci ses . I . P ick out the p r op er no uns . N ame

the co r res
p o nd i ng co mmo n no u n in ea ch cas e
1 . We lea ve to wn on T uesd ay .
2 . I wasbo rn i n A u gu st .
G er many i s pr o u d o f th e R h i n e .
In H o llan d win d mills a re o f gr eat servi ce.
Of a ll A mer i can lakes, S uperi o r i s th e lar gest .
We sai led o n th e go o d shi p C a rp athi a .
. C aptai n Barr was a fin e o fficer .
8 . A re y o u go i n g to C h i cago soo n
II . P ick o ut fi ve p ro
p er no uns o n
p g
a e 1 60 .
I II . Wri te ten p r op er no uns na mi ng

p er so ns or
laces yo u kno w well

p .
186
N A M ES
Gen eral R o bert E Lee wa s a galla n t so ld ier a n d

.
mo st co urteo us gen tle man Hi s fath er , Li ght H o r se .
H arry Lee, wa s a so ldi er befo re him , a d ashin g figh ter

in the R ev o lu ti o n a ry War . Wh en h e marr i ed ,
R o ber t
Lee ch o se a s h is wi fe a yo un g la dy o f m o st d ist in
g ui shed fam ily . Sh e was rela ted to Presid en t Wa sh
in gto n h i mself . So yo u see Gen eral Lee had th e
a d van ta ge o f li v i n g wi th p p
eo le o f th e h igh est ch a r
a cter an d gen tlest mann er s . Yo u wi ll n o t fin d i t
h a rd , th erefo r e, to beli ev e th e fo llo win g sto r y to ld
a bo u t hi m
G en er al L ee was o n ce a p assen ger in a cr o wded rail wa y
tr ai n . P resen tly a n aged wo man , po o rly d r essed an d carr y
in g a h eavy bas k et, bo ar d ed th e tr ai n S h e walked f ro m .
one car to an o th er wi th o ut fin d i n g a seat, an d no on e
o ff er ed h er o ne. A t last sh e came to th e p lace wh er e Ge n

er al L ee was si tti n g . He r o se at o n ce . Li ftin g h i s h a t
”
p o li tely, he sai d , M ad am, p r ay tak e th i s seat . In an
i n stan t a d o z en men o ff ered

gi v e th ei to
r sea t s t o th e
re was n o
G en eral, but h e r ef u sed th em all, sa i n g, “ I f th e
y
”
seat f o r th i s o ld lady , th ere i s n o ne f o r me .
T ell the sto ry o

f ho w Gener a l L ee p r o ved hi msel
f a
gen tlman
e .
Ho w m any n ames h av e we u sed in spea k i n g o f
Gen eral Lee ? Wh at kin d o f n ame did we ap l

py to
h isfath er ? What o n e n ame hav e we used in ev ery
case fo r f ath er an d so n ?
T he gi v en name i s so metim es called th e C h ri sti an

name .
S urna mes a n d gi v en n am es a r e pr o per n o un s Ho w .
sh o uld ro
p per n o un s be wr i tten ?
Wri tten Ex erci se . Wr i te yo u r sur n a me y o ur
gi ven n a me a f ri end ly n i ckna me, if yo u ar e called
by o ne .
18 8
A BE A UT I F UL WO R D -
P I C T UR E
R ea d care u ll
f y to see this p i cture
T h e li ttle bi rd si t s at h i s d o o r i n th e sun,
A tilt lik e a blo sso m am o n g

th e leav es,
’
A n d lets h i s i llumi n ed bei n g o err u n
Wi th th e d elu ge of summer it r ecei v es ;
H i s m ate f eels th e eggs ben eath h er wi n gs,

A n d th e h eart i n h er d u mb br east flu tter s an d si n gs ;
He si ngs to th e wi d e wo r ld , an d sh e to h er n est,
I n th e n i ce ear o f N atu r e wh i ch
,
so n g i s th e best
”
T h e Vi si o n of S i r Lau n fal, J A M E S R US S E LL L O WE L L .
VE R B S
S tudy these sen ten ces
1 . G rac e f ell .
2 . A li ce h elp ed h er up .
3 . E va r an fo r so m e water .
O f h o w m an y pa r ts d o es ev ery sen ten ce co nsist ?

VE R B S 1 67
Wh a t do es th e su b ect o f a sen ten ce

j do ? Wh at d o es
th e p red i ca te o f a sen ten ce d o ?
W ha t is th e su bj ect o f th e fir st sen ten ce ? What is
th e pr ed ica te ? T h e pr ed i ca te i n th is sen ten ce is a
si n gle wo r d, f ell i t tells o r asserts an a cti o n o f th e
j
sub ect . Gr a ce d id wha t ? F ell .
W h at i s th e pr ed i ca te of th e seco n d sen ten ce ?

H er e th e wo rd help ed tells o r a sserts th e a ctio n .
W h at is th e pr ed ica te of the th ir d sen ten ce ? T he

wo r d r an tells o r a sser ts wha t E va d id . Wo rds th at
tell o r a sser t so m eth i n g a r e ca lled verbs . F ell, help ed,
r a n , a r e v er bs .
R emember i s a wo rd used to tell

. A verb o r assert so me
thi ng abo ut so me perso n, place, o r thi ng .
Ex erci ses .
—I . o r asser t wha t ea ch
lo wi n g d o es
1 . T he clo ck T he wi n d
3 . A so ld i er
5 . F ir e 6 . T he su n
Wha t ar e wo r ds th a t tell o r a sser t so m eth i n

g a bo u t
a
per so n o r thin g called ? Wh a t v erbs h av e yo u u sed
in th i s ex er ci se ?
II . Use the f o llo wi ng ver bs to asser t so methi n
g
abo u t
p p ro er j
su b ects
Sta n d, sk a te, sli d e, h o p, sk i

p, j um p
,
tu mble, r o ll,
stu mble, si t, str ut, walk , spy , see .
III . C op y ten ver bs used o n

p a ge 1 64 .
1 68 EL E M E N T A R Y L E S S ON S I N E N GL I S H
19 0
E XE R C IS ES IN DE S C R I PT I O N
Ur al Ex erci se . I s th ere n ea r
y o u r h o me a lake or
a po nd ; a c reek , a br o o k, o r a ri v er ? If so , tell a bo u t
it as
f o llo ws
1 . W h i ch f o rm n a med a bo v e a re
y o u d esc r i bi n g W h at is
i ts pr o per n am e H o w di d i t get t hi s n a me
2 . Wh er e is th e water ? H o w d o y o u get to i t Wh at are
i ts su rr o u n d i n gs
3 . H o w d o es th e water lo o k Wh at u se is m ad e of it
4 . Wh y d o peo ple vi si t it In su mmer In wi n ter
Wri tt en Ex erci se . Wr i te a p ar agrap h descr ibi ng a

bo dy of wa ter .
C an y o u u se an y o f th ese wo r d s i n y o ur d escr i pti o n

I s, lies, fl wo
s ,
r uns, mu r m ur s, chat ter s, nestles ; d eep , shallo w;
still, r u nn i ng ; clea r , mu dd y ; blue, d a r k .
Home R eadi ng —Water .

,
i n i ts v ar i o u s f o r ms of clo u d . ra i n,
f o u n ta i n , or r un n i n g strea m, i s a f av o ri te su b ect j wi th po et s.
T h ey a r e attr ac ted by i ts co lo r , i ts m o ti o n , i ts i ts po wer

so u n d , .
In th e f o llo wi n g li st ar e so me beau tif ul wo r d pi ctur es d esc ri b

-
in g i t :
The F o u nta i n . J ames R ussell Lo well .
A S udd en S ho wer . J am es Wh i tco mb R iley .
R a i n i n S u mmer . H en ry W Lo n gf ello w
. .
The R i vu let . Lu cy L ar co m .
The Wa terf all . Ifi ank Dem p ster Sh erman

'
.
P ebblea Fr ank Dem pster Sh erman .

170 E L E M E N TA R Y L E S S O N S IN E N GL I S H
19 2
T H E VE R B P HR A S E
-
the p r ed i ca tes i n these sen ten ces
1 . S ummer i s co m i n g .
2 . T he a pple blo sso m s h av e f allen .
3 . F lo wer s can be pi ck ed i n th e field s .
Wha t i s to ld o r a sser ted abo ut su mm er i n th e fir st

se n ten ce ? T h e two wo r ds i s co m i ng m u st be u se d
to m a ke th e a sserti o n . What d o yo u call wo rd s tha t

tell or a sse r t ? To sh o w th a t m o r e tha n o n e wo r d
is i r ed to tell o r a sser t th e a ctio n , th e ex essio n
re
qu p r
v erb
p h r a
-
se i s u sed ; i s co m i ng is a v erb -
p h r a se .
W ha t wo r ds tell o r a ssert so m ethi n g a bo u t blo sso ms

in t h e sec o n d sen ten ce ? Wh at v er b
p h r a se i s used ?
-
Wh at th r ee wo rds fo r m a v er b
-
ph ra se i n th e th ir d
sen ten ce
Ex erci ses . I . Use these ver b

p
-
hr a ses in sen
ten o es
H a s go n e ; a r e r eci ti n g ; h av e been seen ; am th i n k i ng ;

will be br o k en ; wa s talki n g ; were h i d i n g ; h av e wr i tten .
II . Wri te se nten ces a bo u t co tto n . Use these verb
p hr ases :
Is r ai sed (w h e r e i s plan ted (wh en i s pi ck ed (h o w

i s gi nn ed (w h ere i s p ack ed (i n wh at i s sh i pped (i n
wh at way is so ld (wh ere is m an uf actu red (i n to
wh at is wo r n (by is ch an ged (i n to wh at
III . C o mbi ne the sen tences i nto a
p a r a ra
g p h .
A N E XE R C I S E I N S T OR Y T E L LI N G 1 71
A N E XE R C IS E I N S T O R Y T ELLI NG
1 . In the E ngi n e H o use —al ar m so un d s —m en sli di n g
d o wn p o le h o r ses en gi n e fir es star ted .
2 T he
. r un to the fire ga llo i
p gn h o r ses d r i v er lean
i n g f o r war d g g
o n street car s wago n s e
p p
o le .
3 . The fir e ru bbi sh h eap f alse alar m walki n g bac k .
Th i n k clea r l
y wha t happ ened fro m th e ti m eth e
a la r m so u n d ed un til th e h o rses were back in th ei r
”
sta lls . T ell the sto ry o
f A F i re A larm in th e
li v eli est la n gu age yo u ca n co mm an d .
If yo u write the sto ry, gr o up yo ur sen tences i n to

thr ee p a r agr ap hs Wh at will be th e to pic o f th e fir st
.
ra h ? th e seco n d ? th e th i r d ?
pa ra g p
R E VIE W
Wh at is a n o un G i ve th r ee n o un s.
Wh at ki n d o f n o un i s bo y 7
G i ve thr ee ex amp les o f p r o p er n o un s.
H o w d o pr o p er n o u n s begi n
Wh at i s y o ur su r n ame ?
Wh at i s y o ur gi v en n am e
W h at i s a verb G i v e five v erbs.
P i ck o ut th e v er bs
T h e m an i s h er e . He sees me .
Pi ck o ut th e v er b-ph r as es
R o bert i s calli n g y o u .
H e h as been h ere bef o re .

17 2 E LE M E N T A R Y L E S S ON S I N E N GL I S H
A N E XE R C I S E IN R E A DIN G
Li ttle S unr i se
He was j u st an o r d i n ary so r t of bo y , bu t th ere was n o t

an o th er like hi m i n all M usk o ma ; beca u se M u sk o ma wa s a n
I n d i an v illage a n d all th e o th er bo y s wer e r ed ski n s. T h ei r
were n o t r eally r ed , y o u k n o w, o n ly r udd y bro wn ; and
cer ta i n ly th e wh i te ’
bo y s ski n
was no t wh i te, becau se th e sun

an d th e wi n d h ad tann ed i t
alm o st as ru d d y br o w n as a n
’
I n di an s W h at mad e hi m d i f
.
f eren t f r o m all th e r est o f th e

M usk o m a bo y s was h i s h a i r ;
becau se i t was r ed an d cu r ly ,
an d th ei r s was black a nd
str ai gh t .
T h ere was a n o th er th i n g
th at mad e h i m d ifferen t f r o m
all th e I n d i an bo y s . T h ey co u ld
si t still, a n d h e co u ld n o t, ex cep t
wh en O ssawi p pi , th e o ld ch i ef , was telli n g h i m a sto ry , an d

’
ev en th en i t wasn t
wh at an In d i an wo uld ca ll si tti n g still .
T h e o n ly ti me h e was r eally still was wh en h e was f a st

asleep i n bed Wh en h e was a wak e ev erybo d y else h ad to
.
wake u p to o T h at was why th e I n d i an s called h i m L ittle

.
S u n ri se ; th o ugh perh aps th e co lo r o f hi s hai r h ad so methi n g

to d o wi th i t H i s real name was R enn i e
. A t least, th at .
1 74 E LE M E N T A R Y L E S S ON S I N E N GLI S H
—1 9 5
PIC T UR E S T UDY
TE E R EA DI G L
N ES SO N —S C HOO L IN BR ITT Y
AN .
I ma gi ne tha t yo u are i ng i n to this ro o m T ell

p p ee .
a bo u t :
1 . T h e teac h er . 2 . T he cla ss r eci ti n g. 3 . T he sch o o lro o m.
F ind u se f or these wo r ds
G en tle, k i n d ; i n ter ested , an x i o u s ; q ui et, sh y ; o r d erly.
In wh a t co u n try do th ese childr en li ve ? T hin k o f

n am es fo r th em , such a s ar e u sed i n that co u n try .
H o w o ld d o th ey seem ? Do th ey seem to be po lite o r

ru de child ren ?
S OM E C O M M ON VE R B S 1 75
19 6
SO M E C O M M O N VE R BS
I . T each Learn
1 . T h e teach er teach es to d ay .
2 . S h e tau gh t y ester d ay .
3 . S h e h as tau gh t th e bo y s to r ead.
4 . T h e pu pi ls learn .
5 . T h ey learn ed to r ead .
6 . T h ey h a v e learn ed many po ems .
7 . Wh o teach es W h o lear n s
M a ke the sen tences mea n m o r e A nswer the .
tions . Use the wo r ds, teac h , ta ught ; lea rn , lea rn ed,

in sen tences o f y o ur o wn .
II . Lik e Lo ve
Yo u ha ve lear n ed th at lan guage enables y o u to

ex pr ess in wo r ds what yo u think
n o t o nl
y but what
yo u feel . Lik e a n d lo v e ex press feelin gs ; do
y o u kn o w
ho w to u se th em pr o perly L i ke m ea n s to be p leased
wi th to enj o y lo ve m
, fi
ea n s to ha ve gr ea t a ecti o n o r
f .
I n the f o llo wi ng sen tences fill the blan ks wi th the

ro er w o r d lik e o r lo v e
p p ,
1 T h e bo y
.
— h i s m o th er d ear ly .
2 . T h er e i s no f r ui t I better th an apples.
3 . Do yo u to r ead go o d bo o k s
4 . T h o u sh alt th y n ei gh bo r as thy self .
.
5 . T h e teach er to teach .
6 . Do th e bo y s to learn
1 76 E L E M E N TA R Y L E S S ON S I N E N GL I S H
I II . M ay C an
Th e v erbs may an d can a re o ften wro n gly u sed .
L ea rn wha t they r eally mea n, to help yo u in u sing
th em co r rec tly .
Will y o u gi v e m e p er m i ssi o n to go
W i ll y o u p er m i t o r a llo w m e t o go ? m ean the same th i ng .
M ay I go
A re y o u able to push th e cart
H ave y o u th e p o wer o r str en gth to
m ean th e same th ing .
pu sh th e ca rt
C an y o u pu sh th e ca rt
Use the p r op er wor d may or can i n the f o llo wing

sen tences
1 . I tak e y o u r pen cil, M i ss J o n es 2 . A n gelin a

speak I tali an .
y o u 3 I go wi th H ar ry to the
li brary, M o th er 4 . Juli a go to o 5 . Wh at y o u
d o to k eep go o d o r d er o n th e playgro u n d
19 7
A N E XE R C I SE I N S T O R Y T ELLIN G
A n In terr upted J o urney
H o nk ! ho n k l ho n k l si gn aled a gr eat r ed auto mo bile as
i t d ash ed alo n g a co un try r o a d , leav in g a clo ud o f d u st and
a sm ell o f ga so li n e beh i n d i t . E v ery bo d y an d every li vi ng

thi n g h ear d th at si gn al an d h u rr i ed o ut of th e way ex cept
an o ld
Who o r wh at d id n o t hear the signal ? Was

th e j o u rn ey i n terr u pted ? T ell the sto r y .
A no u n th at na mes o ne per so n o r th i n g i s called a
si ngula r no un ; p od is a si n ula r n o u n
g .
A no u n th at names mo re th an o ne per so n o r thi ng

is ca lled a p lu r a l no u n
p o ds is a plur al no un .
R ea d a lo u d the f o llo wi ng wo r ds . In wh i ch co lum n

d o yo u fin d sin gula r n o u ns ? In whi ch co lu mn do
u fin d lu ra l n o u n s ?
y o p
1 . On e b o o k . T wo bo o k s .
2 . O ne f o x . T h ree f o x es .
3 . O n e br u sh . F o ur br u sh es .
4 . O ne f en ce . F i v e f en ces .
5 . On e catch . Si x ca tch es.
6 . O n e d ay . S even d ay s .
Sp ell a lo ud the first si n

gu la r n o un
gi ven a b o ve .
Sp ell a lo u d the first p lu r a l no un . What di ffer en c e

i s ther e i n th e spellin g o f th ese two wo r ds ? Sp ell
the o ther n o u ns . L ea r n this r ule :
M o st plural no uns are f o rmed f ro m si ngular no u ns by

a dd i ng 3 o r es .
Wri tten Ex erci ses . I . C op y thep lur a l no uns gi ven

abo ve .
II . C ha nge these si ngula r to p lur a l n o uns

n o uns
p p , p
a er e n , p en c i l, bay ,
k ey ,
to y , gu y g
,
ulf ;
a x , latch , gla ss, fish , sen se, n o i se, i n ch , starch ;
p i c tur e, m esh , c o a t, p o ta to ,
match .
Wri te bo th f o r ms of these wo r ds . R ea d them alo ud
class . Use them i n o r a l sen tences .

P L UR A L N O UN S 17 9
200
PLUR A L N O UNS
A . Wh en y i s ch anged to i and es is added
N ew Y o r k i s lar ge ci ty a .
N ew Y o rk an d C hi ca go are large ci ti es .
N o ti ce the wo r ds c ity, ci ties . Whi ch is a sin gular
no un ? Wh ich is a plura l n o un ? T he sin gu la r
no un ci t
y en ds i n the letter y , preced ed by the letter t,
which is a co nso nant In the plu ral n o un ci ti es 1
.
has been ch anged to i and es h a s been ad d ed .
Ex erci ses . I . S tudy these wo r ds which f o llo w

the a bo ve r ule . L ea rn to sp ell them
S I GU
N LA R PL U RA L S I GU
N LA R PL U RAL
fly fli es cry
baby babi es lad y

ki tty k i tti es p u ss y
d ai sy d a i si es li ly
II Use the abo ve wo r ds in o r al sen ten ces

. .
III S ta te ho wp lura l no uns are f or med f r o m

. si nau
lar no uns which en d i n y p reced ed by a co nso na n t .
B . S o me No uns th at end in o
L eo n id as wa s a h er o .
H i s Spa rtan s wer e h ero es .
N o tice the wo r ds h er o , h er o es T h e sin gular n o un .
hero en d s in o , pr eced ed by a co nso nant Su ch n o u ns .
usually fo rm th e plur al by a dd in g es to the sin gular .

Ex erci ses . S tudy the f o llo wi ng wo rds

to mato v o lcan o
to mato cs v o lca no es
C . T he leaf was y ello w . T h e leav es were y ello w .
Wh at n o un is th e su b ect
j of th e first sen ten ce ?
Of th e seco n d senten ce ? Wha t is th e differ en ce i n
the mean in g o f th ese two wo rd s ?
N o ti ce tha t the si ngu la r no un end s in f . In t h e
plural f o rm th e lett er f h a s b een ch a nged to v and as
h as been ad d ed .
Ex erci ses . S tudy the f o llo wing wor ds . L earn to

sp ell them . Use them j
as su b ects o f sen tences . Whi ch
no uns a r e si ngula r Which ar e
p lur al
kni f e kn i v es h alf h alves self selv es
li f e li v es calf calves sh elf sh elv e s
wif e wi ves wo lf wo lv es lo af lo aves
D . 1 . T welve i n ch es mak e o ne fo o t
.
2 . T h ree f eet m ak e o ne y a rd .
What no u n is u sed i n the sin gula r fo r m i n th e fir st

sen ten ce a n d i n the lu r a l fo r m in the seco n d ?
p
Ex erci ses . S tudy the f o llo wi ng n o uns . L ea r n to

r e ea t a n d
p to sp ell them . Use them i n senten ces
man men go o se geese ox
wo man wo men fo o t f eet mo use mice

ch ild ch ild r en to o th teeth o ne sh eep ten sh eep
182 E L E M E N TA R Y L E S S O N S I N E N G L I S H
o n e co uld m o ve i t . A d ay wa s set f o r a seco n d tr i al . S plen d i d

g am es a n d co n te sts wer e p lan n ed , an d to th ese games came S ir
E cto r, h i s r eal so n, S i r K ay , an d A r th ur .
S i r K ay d esi r ed to en ter th e co n tests, but alas ! he h a d

f o r go tten h i s swo rd . A r th u r o ff er ed to ri d e back f o r i t .
W h en he r each ed th e cas tle, wh ere S i r K ay h ad lef t i t, h e

co uld not g t
e in ; every o ne h ad go n e t o L o n do n f o r th e
ga m es . It was then th at A rth u r re member ed seei n g a s wo r d
in a ch u rch y a r d a s he was r i di n g by . O ff h e h u r r i ed to get i t .
Y es, th er e i t was, a gr eat s wo r d in an an vil, r esti n g o n a h u g e
whi te sto n e A rthur wo r d , d r ew i t f o rth wi th o u t

sei z ed th e s
tr o uble, an d , at f ull sp eed , r o d e wi th i t to S i r Kay .
Wh en Si r Ecto r lea rn ed th at A rth u r h ad bro ught th e swo r d ,

he co m m an d ed h i m to r etu rn to th e ch ur ch y ar d an d to ta k e
o ut th e s wo r d
i n hi s presen ce T h i s was d o n e B ut wh en th e
. .
A r ch bi sh o p o f C an ter bu ry h ear d wh at h ad h appen ed, h e o r d er e d

th e swo r d to be pu t back a gai n .
A t E a sterti d e, k i n gs an d p r i n c es,
lo r d s an d n o bles, cam e
f ro m f ar an d n ear . E ach tr i ed wi th mi ght an d mai n t o r elease
th e s wo rd . It wo uld n o t sti r . T h en A rth u r came . A t th e

to u ch of h i s h an d , th e s wo r d see med f ai rly to lea p f r o m th e
an vi l . S ti ll, th e lo r d s wer e n o t sati sfied . T h ey d ema n d ed
!
a n o th er tri al, a n d af ter th at, o th er s. E ac h ti me, A rthu r alo n e
co u ld r em o v e th e s wo rd .
A t th e la st tr i al, th e co mm o n p p
eo le also wer e p r esen t .
Wh en A r th ur d r ew f o rth th e s wo r d an d r ai sed it alo f t, th ey

sh o uted an d called h i m ki n g, an d d eclar ed tha t th ey wo uld
figh t an y lo r d wh o r efu sed to o bey hi m . S o A rth u r beca m e
K in g of B r i tai n , but i n h i s h eart th er e was sad n ess a s well
as j oy ; j oy becau se h e was th e r i gh tfu l ki n g o f a f ai r co u n try ,
bu t sad n ess becau se h e was n o t th e r i gh tf ul so n of S i r E cto r,

wh o m he so d early lo ved .
A N E XE R C I S E I N R E A DI N G
F o r th e S tud y P eri o d R ea d the sto ry thr o ugh

si len tly . F i nd a ns wer s to the f o llo wi n g u esti o ns
q
I . Wh o was Ki n g U th er W h at h app en ed at hi s d eath
W h o was A rth u r Wh o was S i r E cto r W hy did no t
A r th u r beco me k i n g at o n ce
’
II . Wh o to o k step s to settle th e d i S pu te abo u t K i n g Uth er s
th r o n e Ho w Wh at h appen ed i n th e ch u r chy ar d
I II . H o w d i d th e fir st tr i al en d Di d A r th u r tak e p art i n
it W hy d i d A rth u r co m e to L o n d o n
I V Wh o wa s S i r
. K ay Wh at di d he wi sh to do ?
W h at swo r d di d A r th ur br i n g to h i m
V Wh en . S i r E cto r sa w th e swo r d , wh at d i d he do Wh a t
d i d th e A rchbi sh o p d o
VI W ho wer e pr esen t at th e n ex t tri al ?
. Wh at h ap
p en ed W h y w e r e th e n o bles n o t sati sfied
VI I W h o wer e p r esen t at th e last tr i al
. Wh at d i d
th ey d o W ho th en r eally ch o se A rth u r to be k i n g
, ,
H o w di d A r thur f eel abo ut all thi s h o n o r W hy

F o r th e C la ss P eri o d . I . R ea d the sto r y a lo u d ,
wi tho u t i n terrup ti o n . A re a ll th e in ci d en ts clea r l

y
i c tu r ed in u r m in d ?
p y o
II T ell the sto ry f r o m beginni ng to en d

. .
III Wri te a p ar agr ap h, gi v i n g su ch part

. of th e
sto r y a s y o u r tea ch er d i r ects . S tudy ea ch
p ara
g ra
p h
to lea rn what part o f th e sto ry is r ela ted i n i t .
Ho me R ea di ng . T h e sto ry to ld i n th i s lesso n i s v ery i n co m

p let e, bu t i t ser ves to i ntr o d uce to y o u K i n g A rth urDo y o u
.
ca r e to k n o wm o r e a bo ut h i m H i s d eed s a r e qu a i n tly d escr i bed

E L E M E N T A R Y L E S S ON S I N E N GL I S H
by S i r T h o m as M a lo ry, but so me o n e will h av e to ex plai n the

lan gu age o f th at o ld bo o k to y o u A S o uth ern po et, S i d ney
.
’
L an i er, rewr o te th e sto ry in a bo o k called T he Bo y s Kin g
A r th ur p erh a s
p y o u can r ead th at . Oth er ac co un ts th at a re
ea si er to r ead a r e n a med o n p g
a e 240 .
I f y o u r ead a ny of th ese ac co un ts, lear n th e f o llo wi n g i n ci

d en ts i n th e li f e o f Kin g A rth ur . T h ey wi ll m ak e fin e st o r i es
to tell at th e mo r n i ng or F ri d ay af ter n o o n ex erc i se s
H o w K i n g A rth ur o btai n ed th e wo n d erful swo rd Ex ca li bur .
H o w K i ng A r th ur ca me
i n to po ssessi o n o f th e f a m o us
R o un d T a ble at wh i ch sat o n e h un d r ed an d fif ty k n i gh ts .
H o w ten d er ly K i n g A r th ur lo v ed th e f a ir Q ueen G uin ev ere,

an dwh at S plen d i d d eed s h e d i d f o r h er sweet sak e .
H o w A r th u r r etur n ed th e swo r d E x cali bu r to th e waters

wh en ce i t ca me a n d th en was hi mself bo rn e away o ut o f th e
,
si gh t o f men f o r ev er mo r e .
204
A R E VI E W
—
F r o m the sto r y o n p ages 1 8 1 1 8 2 ,
p i ck o u t ex a m
p les
whi ch sho w the f o llo win g

1 . H o w ti tles o f sto r i es ar e wr i tten .
2 . W h er e th e fir st wo r d o f a par agr aph i s placed .
H o w th e first wo r d o f every sen ten ce begi n s .
H o w d eclarati v e sen ten ces are p un ctu ated .
H o w n a mes o f p er so n s an d places begi n .
H o w ti tles o f p e rso n s ar e wr i tten .
H o w n am es h o li d ay s begi n
of .
H o w m o st si n gular n o u n s beco m e p lur al .
H o w qu o tati o n mark s ar e u sed .
10 . H o w o wn er sh i p i s sh o wn .
E L E M E N T A R Y L E S S O N S I N E N GL I S H
Ex erci ses . I . S tud y thef o llo wi ng gr o up s of

wo r ds .
Which a re S in gular n o un s that Sh o wpo ssessio n ? Ho w

d o they sh o w i t ? Wh ich are plu r al n o rm s tha t S ho w
o ssessio n ? H o w d o they sho w i t ?
p
’ kn if e ’
T he bo y s . T h e bo y s k n i ves .
’ ’
T h e h o r se s ta i l . T h e ho r ses ta i ls .
’ ’
T he cat s to n gu e . T he cats to ngues .
’ ’
T h e lad y s p se ur . T h e lad i es p ur ses .
’ i ’
T h e ba by s b b . T h e babi es bi bs .
II . Use the a bo ve g rou

p s of wo r ds a s sub ects o j f
sen tences . Wri te the sen ten ces o n the blackbo a r d .
206
Bri n g me th e ’
ch i ld r en s bo o k s .
’
T he chi ldr en s bo o ks m ea n s the bo o ks o wned
by the
chi ld r en . An apo stro ph e a n d s a re a d d ed to th e lu ral
p
’
n o un child r en to Sho w po ssessi o n ; thus, childr en s .
No tice tha t chi ld r en is a plu ra l n o un whi ch do es

n o t en d in s .
Ex er ci ses . I . S tudy thef o llo wing gr o up s of wo rds .
Whi ch g a re si n ula r n o un s th a t Sho w p o ssessio n ?

H o w do they S h o w it ? Whi ch are plura l n o uns
th at sho w po ssessi o n ? H o w do th ey sh o w i t ?
’ ’
T he ch i ld s to y . T he ch ildr e n s to y s .
’ ’
T h e m an sti ck et . T h e men s ti ck ets .
’ ’
T he sh eep s fleece . T he sh eep s fleeces .
II . Use the a bo ve gro up s of wo r ds as sub ects o j f sen
tences . Wri te the sentences o n the blackbo a r d .

H O W N O UN S S H O W P OS S E S S I ON 1 87
I II . C ho o se o ne o f the f o llo wi ng top ics . Wr i te a
p a r a gr ap h abo u t it. S electf o ur p lur a l no uns .
1 . Do gs h ave o ften saved li ves . T ell a ca se yo u kn o w .
2 . E S Op to ld many f ables . N a me so me yo u kno w .
3 . B ra ve men are also ten d er-h earted . T ell a bo ut Gen eral

C uster, o r a ny o ther bra ve ma n who m yo u ad mire .
—2 0 7
L is ten to these beau tif ul li nes
I sto o d ti pto e u po n a li ttle hi ll ;
T he ai r was co o li ng an d so very still,
T h at th e sweet bud s whi ch w i th a mo dest pri de

P ull d r o o p i n gly, i n slan ti n g cu r ve asi d e,
’
T hei r scantly leav d and fin ely taperi n g ste ms,
H ad n o t y et lo st th o se starry di ad ems
C au ght f ro m th e ear ly so bbi n g o f the mo m .
T he clo ud s were p ure an d wh i te as flo cks ne wsh o rn,

-
A n d fr esh f ro m th e clea r bro o k ; sweetly th ey slept

On th e blue field s o f h eav en ; a nd th en th er e cr ept
A li ttle n o i seless n o i se am o n g th e leaves,
Bo rn of th e very si gh that si len ce h eaves ;

Fo r no t th e f ai n test mo ti o n co uld be seen
’
Of all th e sh ad es th at slan ted o r
e th e green .
JO E N KEA T S .
Perhaps yo u will thi nk o f th ese lin es so m e m o rn in g

w y
h en o u s ta n d tip t o e o n a l i tt le h i ll a n d s e e th e
de w gli ste n i n
g i n t h e m o r n i n
g su n ,
o r w a tc h th e
clo u ds,
o r n o te a n o i sel es s n o is e i n t h e st i ll a i r .
R ead th e p o e m to le a r n h o w a p o et sp ea k s o f th in
g s
that yo u, to o , may feel an d see an d h ear .

188 E L E M E N TA R Y L E S S ON S I N E N GLI S H
208
PR O NO UN S
1 . Patri ck h as spilled hi s ink .
2 . G ertrude h as lo st h er pen ci l .
3 . T h e po o r bi r d h as br o k en i ts wi ng
Who se in k h as been spilled ? If th e no un P at

were u sed , the sen ten ce wo uld read , P a tri ck
’
has s
p illed P a tr i ck s i nk .
Ho w do yo u li ke the so un d
of th at ? T h e little wo rd his
is u sed in stead of the n o un
Who se pen ci l has been

lo st ? What wo rd is :
u sed
instead o f th e n o un Ger
’
tr ud e s i n th e seco n d sen
ten ce ?
Who se wing h as been
br o ken ? What wo rd is used
’
in stead of the n o un bi rd s in
the th ird sen ten ce ?
Wo rds u sed to take the

N lac of n o un s calle d
p e a re
pro no u ns ; the wo r ds his, her , i ts, are pro no un s.
R emember . A pr o noun i s a wo rd used i nstead of a noun .

1 90 E L E M E N T A R Y L E S S O N S n v E N G LI S H
209
T H E O R D E R O F PR O N O UN S
“ ’
this sta nza f ro m A Bo y s So n g
Wh ere th e po o ls are b ri gh t an d d eep,
Wh ere th e gray tro u t li es asleep,
’
Up th e r i ver, an d o er th e lea ,
’
T hat s th e way f o r Billy an d me
—J
.
A MES
Wo u ld y o u no t like to v isi t th e
pleasa n t s ot
p
described in the abo v e lin es ? N o tice the la st li n e .
T he pro n o un m e, whi ch sta n ds fo r th e spea ker , fo l

lo ws th e n o un B dly T ha t is th e pro per way i n
.
En gli sh .
Ex erci ses .
—I . F ill the bla n ks wi th the p r o no u n m e .
R ep ea t the co m leted sen tences a lo ud

p
1 . H e ga ve i t to So p h i e a nd
2 . H ere i s so me can d y f o r yo u and
3 . T h e gir ls are talki n g abo ut Vi n cent an d
4 . Did yo u call mo th er or
R ead yo ur sentences a lo ud .
II F ill the bla nks with the p ro no un

. I . R ep ea t the
co mp leted sen ten ce a lo ud .
1 . T h e teac h er an d mo d eled th at map .
2 . T h e bo y s and mad e th e bo x .
3 . C a ro li n e o r must stay at h o me .
4 . L o ui s an d h a ve sa v ed a d o llar .
Wri te five sen tences like tho se gi ven in this ex er cise.

A Q UO T A TI O N WI T H I N A Q UO T A TI O N 191
2 10
P A R A GR A PH W R IT IN G
C ho o se o ne o f the f o llo wing top ics . In class wri te
a bo u t the top i c cho sen a s go o d a p a r agr ap h as y ou
ca n in the ti me yo ur teacher gi ves yo u
I . T r ees o u gh t to h av e go o d ca r e . A dd at lea st two sen
ten o es telli ng why .
II . T he sch o o l gr o u n d s sh o u ld be k ept i n go o d o r d er . A dd
at lea st two sen ten ces telli ng why .
III . C h i ld r en sh o uld si t er ect wh i le stud y i n g . T ell why .
IV . S k ati n g i s go o d ex er c i se . It
V . H elen K
eller i s o ne of th e mo st re mark able p er so n s
i n th e wo r ld . W h en sh e was a little chi ld sh e
F i n i sh the p a r agrap h by telli ng why she is re ma r ka ble .
2 11
Q UO T A T IO N WI T H IN A QUO T A T IO N
A
T wo m en wer e j o ur n ey i n g to geth e en j o y i ng each ’

r, o th er s
c o m p an y . On e of th em p i ck ed up a br i gh t ir o n ax th a t
lay i n th e r o ad , say i n g to hi s co mp an i o n , I h a ve f o u n d
“N ” “
ay , my f r i en d , r epli ed th e o th er , do n o t sa
y
I , bu t we h ave f o un d an ax .
”
T urn i n g a r o un d th ey sa w th e
o wn er of th e ax p u r su i n g th em . T he fin d er of th e ax
c r i ed :
“
O d ear ! we ar e ca u gh t .
” “N
ay , r ep li ed h i s mate,
“ k ee
p y o u r fir st mo d e of speech , my f r i en d . W h at y o u
’
th o u gh t r i gh t th en , thi nk r i gh t n o w . S ay, ‘I am ca ugh t, not
‘We ar e cau h t ’
g .
Upo n wh i ch wo rds d o es the po in t of th e sto ry
d epen d ? S elect the p r o no un s . T ell wha t wo r d ea ch
stand s
p r o no un f or .
1 94 E LE M E N TA R Y L E S S O N S I N E N GL IS H
VIS ITI G DA
N Y AT T HE HO S P IT A L.
A DJ E C T I VE S 1 95
2 15
A S T O R Y T O PL A N A N D T O W RIT E
Wri te o u t the sto ry tha t yo u r ea d
f ro m the p i ctur e
on a
p ge 194 .
Befo re beginn i n g th e sto ry, set do wn the p o i nts

a bo u t which yo u wi sh to wri te N ex t a rr a ng e them i n .
a go o d o r d er . If y like , yo u may begi n by givin g

o u
th e ti tle of th e pi c tu re, th en descr ibe th e fo regro un d ,
th en th e bac kgro un d , an d en d wi th so me tho ugh t

th a t th e wh o le
p i cture b ri n s to
g y o u r m i n d H o w .
m a n y pa ra gra ph s d o es th i s plan ca ll fo r ?
M ak e an y pla n yo u like th e i m po r tan t thin g is
to h av e yo ur o wn pla n , a n d to sti ck to i t when y o u
2 16
A DJ E C T I VES
S tud y these sen tences

1 . C lo ud s gath er . 2 . Dark clo u d s gath er.
3 . C h ild ren r un . 4 . F ri gh ten ed child r en r un.
In sen ten ce wo rd clo uds may m ean an y

1 th e
k in d o f clo u d If yo u wish to tell wh at kin d o f
.
c lo u d u mu st use so me wo rd wi th th e n o un , as
y
,
o
i s d o n e by th e wo r d da rk i n sen ten ce 2 .
In sen ten ce 3 th e n o un child r en m ay mean an

y
ch ildr en ; th e wo rd f r ightened is u sed in sen ten ce 4 to
tell wh a t ki n d o f ch ildren . Wo r ds th at
wi th a r e used
n o u n s to ad d to o r mo d i h i r m ea n i n g in this w
fy t e a y
a r e ca lled a d j ecti v es D ar k f ri ghtened , are adj ectiv es
.
, .
1 96 E L E M E N T A R Y L E S S ON S I N E N G L I S H
R emember . An j
ad ecti ve is a wo rd
meani ng of a no un or pro no un.
Oral Ex erci ses . I . S ee my li ttle do g . What o ther

wo rds th an li ttle ca n yo u u se wi th th e n o un dog to
ad d to or mo dify i ts m eani n g ?
II H e car ri es a bi g sti ck Wh at
. . o th er kin ds ?
III I am ta ll Wha t o ther wo rds
. . ca n be used in
pla ce o f ta ll 7
What are wo rd s that a re u sed to m o d ify the mean
in g o f n o uns o r p r o n o u n s called ? Wh a t a d ectives
j
hav e yo u cha n ged in th is lesso n ?
Wri tten Ex erci se . Use in sen tences these adjec
w wi d e ; clean , di rty ; gen tle, rude ; or

(
H i gh , lo w; n arr o ,
d erly , d i so r d erly ; k in d, i m ki n d ; black, whi te ; h o n est, dis

h o n est ; go o d , b ad ; o ld n ew ,; r i h
g ,t lef t .
H u n gry , th i r sty ; h o t, co ld ; ur le,

p p go ld en ; f ai r, dark ;
clo u dy, r ai ny , sto rmy .
W o rd S tudy
T o mo d ify m eans to cha nge.

1 98 E LE M E N TA R Y L E S S O N S I N E N G LI S H
2 18
A N E XE R C I S E I N R E A DING
Far a way, i n F air J apa n , a n o ld ma n d welt wi th h i s

n umer o u s f amily H i s gr eat th atch ed f ar mh o use sto o d n ea r
.
th e ed ge o f a small plateau , o verlo o ki n g a bay an d th e sea
beyo n d . On th e belo w th e pla teau

slo pes wer e r i ce field s .
T h ese br o u gh t h i m wealth , an d f urn i shed wo rk fo r a ll th e
pe as an ts o f th e regi o n r o un d abo ut .
B elo w th e r i ce field s lay a li ttle v i lla ge, f o llo wi n g th e

cur ves o f th e sh o re I n th e
. v illage, la n tern s an d ban n er s
sh o wed that th e h ar vest f east was i n pr o gr ess T h e sea , th e.
v illage, th e gr een slo pes, th e level platea u, th e lo f ty m o un ta i n ,

mad e a beautif ul pi ctu re f o r th e o ld m an to see a s he sa t at
his d o o r wi th his li ttle gr an d so n , T ad a .
S u d d en ly h e f elt so methi n g q u eer —a lo n g, slo w, sp o n gy
mo ti o n . It was an ea rth q u ak e ! H e lo o ked at th e sea. It

h ad gro wn su d d en ly d a rk I t wa s r un n i ng a wa y f r o m the la nd
. .
B u t so o n i t wo u ld co me back br in gi n g d estr ucti o n to th e li ttle .
vi llage a n d
i ts peo ple .
“ u i ck — v er ”
Q y q u i ck ! L i gh t m e a to rch , he cr i ed to h is
gran d so n T h e c
.h i ld o bey ed a t o n ce . H u rry i n g t o th e
field s, the o ld man th rust th e li gh ted to r ch i n to th e gr a i n .
I n stan tly th e flames bur st f o rth T h e li ttle bo y, i n ter r o r,

.
ran after hi s gr an df ath er , cr y i n g, G r an d fath er ! Wh y ”
Oh , wh y ! ”
But th e gr an d f ath er d i d n o t an swer .
P r esen tly th e peo ple sa w th e a mes an d came swar m i n g fl

u p th e h i ll li k e an ts ; ev ery m a n , wo m a n , an d ch ild c a me .
”
G r an d f a th er i s m ad ! I a m af r a i d o f hi m l cr i ed th e bo y .
”
Lo o k ! sh o u ted th e o ld man , po i n ti n g to th e sea, see
no w if I am m ad ! ”
A t th e ed ge o f th e h o ri z o n , th ey sa wa lo n g, d i m li n e . It
was as i f th e sea li fted i tself to th e sk y . T h en i t ca me
AN E XE R C I S E IN R E A DI N G 1 99
r u sh i n g to wa r d th e sh o re wi th a r o a r so ter r i ble th at ev ery f ace
gr e w p ale . On , on it c a m e u n ti l i t b ur st upo n th e sh o r e, an d
d r o ve th e S pr ay f ar u p th e m o un ta i n si d e I t d rew bac k , still .
r o a r i n g a n d tea r i n g away r o ck s, tr ees, h o u ses, ev er th i n

y g .
T wi ce, th r i ce, five ti mes, th e gr eat wa v e str u ck an d ebbed ;

th en i t r etu r n ed to i ts plac e an d stay ed .
On th e plateau, n o o n e spo k e f o r a ti m e A ll lo o k ed an d .
lo o k ed an d lo o k ed at th e scen e belo w T h e v i llage was n o t ; .
th e field s were n o t ; th e h o uses an d te mples wer e n o t ; bu t

abo v e , o n th e p lateau, th ey , th e p eo p le, were all saf e an d
so un d . A n d th er e was th e o ld man , by h i s o wn act, mad e

as po o r as th ey ! G en tly th e o ld man sp o k e, Yo u kn o w
no w why I set fir e to th e r i ce .
”
Bu t th e peo ple sh o uted
an d di d great h o n o r to h i m, f o r h e h ad sa v ed th ei r li ves !
LA F C A I O H E A R N -
D .
(A dap ted )
R ea d this bea u tif u l sto r y thr o ugh .
S tud y of th e S to ry . F i nd these wo r d p i ctur es

-
1 . T he ho m e o f the o ld ma n .
—W h a t a n d wh er e was i t ?
2 . T he vi lla ge W h er e di d i t li e ? W h at mad e i t lo o k
. a
g y ?
3 . Th e ea rthqu a ke W h at d id th e o ld man f eel ?
.
4 . T he r ice sta cks . P i ct ur e th e r i ce in stac k s r ea d y to be

so ld ; th e o ld man ru n n i n g fro m o ne to th e o th er wi th his
t o r ch P i ctur e th e stack s abla z e .
—
.
5 . wa r mi ng of the v illager s
T he s W hy d i d th e peo ple sto p .
th ei r ga m es H o w d i d th e
y c o m e u p th e ste ep h i ll ?
6 . T he tid a l wa ve W h at d i d th e peo ple see wh en th ey
.
lo o k ed o u t at th e o cean Wh at d id th ey h ear
7 . T he p eop le sa ved .
— Wh at h a pp en ed o n th e plateau ?
The v i lla ge wa s no t mean s the v i lla ge ex i sted n o lo n ger ; i t was

wi p ed o ut Wh at o th er th i n gs d ear to a ll th ei r h ear ts n o
.
lo n ger ex i sted Wh o d i d ex i st Wh o h ad sa ved th em

S tudy these s en tences

1 . C o me h ere .
2 . Do i t no w .
3 . G o q ui c kly .
Wh at is th e v er b in N o tice the th e first sen te n ce ?

wor d h ere I t is u sed wi th the v erb co me to tell
.
wh ere th e perso n spo ken to is to co me It m o di fies .
th e m ean in g o f the v er b co me .
Wha t i s th e v er b i n th e seco n d sen ten ce ? T he

wo r d no w is used wi th th e v er b do to tell wh en th e
act i s to be do n e .
Wh at i s th e v erb in the th ir d sen ten ce ? T he

wo r k q uickl
y i s u sed w i th th e v erb
go t o te ll h o w
th e acti o n i s to be do n e Wo rds u sed with v erbs to
.
mo d ify th e ir m ea n i ng a re ca lled a d v erbs . H er e, no w ,
ui ckly, a re a d ver bs
q .
Ex erci ses . I M a ke
. sen tences, usi ng the wo r ds
ba ck , fo rward , th er e, wi th the ver bs sit, o
g , m ar ch .
II M a ke sen tences usi ng the wo rds to d ay yester

.
,
-
,
day n ev er wi th the ver bs retur n ed sta rt li ed

, , , , .
III M a ke sen tences usi ng the wo r ds n ea tly qui etly,

.
, ,
hea r tily wi th the ver bs laugh s wr i tes step

, , ,
.
What a re wo rds used with v er bs to mo di fy their

mean in g ca lled ?
What a d verbs hav e yo u u sed in th is lesso n
20 2 E LE M E N TA R Y L E ssON s I N E N GL I S H
221
A US E O F T H E C O MM A
Observe ca r ef ully the use of the co m ma i n the f o llo w

ing sen tences
1 . M en , wo men , an d child ren h ur r i ed to th e wh arf .
2 . T h ey r a n,
p u sh ed , sh o ved , stum bled , a n d almo st f ell.
3 . T h ey wer e a h o t, ti red , d i r ty , bu t j o lly cr o wd .
T he n o un s men , wo men ,
a n d chi ld r en to geth er fo rm
th e su b ect
j of th e fir st sen ten ce . When wo rds are
used to geth er i n thi s way to d o th e sa m e wo rk in a
sen ten ce, th ey a re sa i d to f o rm a list o r seri es an d are
sepa r a ted f ro m o ne a n o th er by co mm as .
A ser ies o f v er bs is u sed in th e seco n d sen ten ce to

fo rm th e pr edi ca te H o w a re co m mas u sed i n i t ?
.
In th e thir d sen ten ce a seri es o f adj ecti v es i s used .
R ea d the seri es . Ho w a re co m m a s u sed i n it ?

Ex erci ses .
I . D i cta te to so me o ne the na mes o f
p p
u i ls i n f r o n t sea ts i n
yo u r scho o lr o o m . Use the
list i n a sen ten ce to be wri tten on th e bla ck bo a r d .
II . D i cta te i n o n e sen tence a li stf t

ohi n s
g y o u d o in
scho o l ever y d ay . H av e th e sen ten ce pla ced o n the
bla ck bo a rd an d pu n ctu a ted .
III . C op y a nd wr i te f r o m di cta ti o n the sen tences
gi ven f o r stud
y . Wri te f r o m di cta ti o n :
G r eat,wi d e beauti f ul wo n d erf ul W o r ld,

, ,
W i th th e wo n d er f u l water r o un d y o u curled,
A n d th e wo n d er f ul gr a ss u po n y o u r breast,
W o rld , y o u ar e beauti f ully d rest .
E XE R C I S E S I N P A R A GR A P H WR I T I N G 20 3
222
E XE R C I S E S I N PA R A G R A P H W R I T IN G
C ho o se o ne o f the f o llo wi ng top i cs f o r a two -

minu te
ta lk bef o r e the cla ss
I . Spelli n g M atch .
1 . W h o wer e th e parti es
2 . L ead er s .
3 . W o rd s — i n c i d en ts .
4 . G r o ws ex ci ti n g — n arr o ws d o wn to fiv e —h o w
v i d ed ? T o two !
5 . T he wi n n er .
With th e Gr o cer f ro m 5 to A H . .
1 . O pen i n g th e sto r e .
2 . N ew go o d s .
3 . E arly cu sto mer s .
4 . A h u r ri ed br eakf ast o ff to sch o o l

.
II I . Wa itin g fo r a T rain .
1 Delay
—wh t th y d
. .
2 . Oth er pati en t wai ter s wh o th ey are a e o
3 . F alse alar m f rei gh t trai n r umbles by .
4 . W elco me si gnal .
5 . A rr i val o f fr i en d s .
IV A Dro p in th e Buck et
. .
1 . O cean .
2 . S ky tri p .
4 . U n d er gr o un d trip .
5 . T he well a nd th e bu ck et .
V . T h e Nea rest Way to
Let th e cla ss giv e th e n a me o f a well k n o wn place , -
a nd th en tell i n th e fewest po ssi ble wo r ds, but clear l ,

y
ho w to get to i t .
VI . T h e Big Dipper .
1 . H o w man y star s i n i t
2 . Wh er e d o y o u fin d i t
3 . H o w d o y o u use th e po i n ter s to fin d th e N o rth Star
Wri tten Ex erci se . Wri te a p ar agr ap h o n a ny o ne
f
o the a bo ve top i cs, as
y o ur teacher di rects .
2 23
T H E S T UDY O F A P IC T UR E
T hi n k o
f q uesti o ns to ask a bo u t :
T he n a me of th e pi ctur e ; th e p eo p le i n th e bo at ; th e
bo at i n th e f o regr o un d ; th e sea ; th e sh i p s i n th e back
gr o u n d ; th e t i m e o f th e y ear ; th e co lo rs i n th e r eal sc en e .
A S WI S S L E GE N D 20 7
T h e S tud y of th e S to ry . Wh ere is Swi tzerlan d ?

“
I s i t tr uly a lo vely lan d of la ke a n d m o un ta i n
L o o k i t up i n yo ur geo grap hy to o bserv e h o thi s is w

sh o w n o n th e ma
p f E u L k t the tur
o p
ro e o o a
p i c e .
on
p a ge 1 1 1 to see th e diff er en ce between ma ps an d
p i ctu r es of a co u n try .
T o tell the sto ry well , y o u sh o u ld get th e fo llo wi n g

o r d er o f ev en ts clea r ly fix ed in yo u r mi nd . Yo u can
n e v er tell a sto r
y t ha t d o es n o t li v e i n
y o ur o wn min d
fir st .
1 . T he A ustr ia n G essler .
—Wh at k in d of man was he
W h at di d h e d o to Sh o w h is po wer
2 . T ell a nd hi s so n . Wh ere were they Wh at d id th ey f ail
to d o W h at h appen ed
3 . Gessler , Wa lter , a nd T ell .
—H o w di d G essler S peakto
T ell Wh o r epli ed Wh at feeli ng d o es
to G essler ’
Walter s
r ep l
y S h o wt h at h e h a d f o r hi s f ath er W h at d i d G e ssler o r d er
T ell to d o H o w di d W alter again S h o w hi s feeli n g f o r hi s .
f a th er
4 . T he sho t . Pi ctu r e th e scene ; the tr ee, th e b o y un d er i t,
th e a p ple, th e suff erin g f a th er, wi th hi s cr o ssbo w a nd arro w .
F o llo w th e sh o t f r o m th e ti me T ell rai ses h is bo w .
5 . T he seco nd a rro w .
- Wha t was sai d abo ut it
Is S wi tzerlan d free to d ay ?
-
Whatdo yo u ca ll
su c h
.
a
go v ernm en t as th a t o f Swi tzerlan d ? Wha t
co un try, d ea r to yo u , h as su ch a go vernmen t ?
T ell this f a mo us sto r y i n as d ra ma ti c a way as y o u
ca n . T ha t mea ns, ad d ac tio n to y o ur wo rd s i n o rd er

th a t yo ur h ea r ers ma y seem to see these thi ngs ha p
n in g befo re th eir ey es
pe .
PO E MS WHI C H T E A C H L OVE O F C O UNT R Y
Th e feelin g wh ich pro m pted William T ell to r esi st

th e ty ran t Gessler was lo v e fo r hi s co un try G r ea t .
sto ri es li ke tha t o f Wi llia m T ell stren th en th is feel

g
in g in the hearts o f ch ild r en .
A s yo u k n o w, po ems do thi s ev en m o re t h an
sto r i es
. Here are so me spi rited lin es which o ld er
eo ple li ke to h a v e A m eri ca n ch ildr en lear n o n t h i s
p
acco un t
Warren s A d dress
’
’
Stan d ! th e gr o u n d s y o ur o wn , my
Will y e gi ve i t up to slaves
Will y e lo o k f o r greener graves
H o pe y e m er cy sti ll ?
W ’
h at s th e mercy d espo ts f eel ?
H ear i t i n th at battle peal !
R ead i t o n yo u br i stli n g steel !
A sk i t, —ye wh o wi ll !
F ear y e f o es wh o k i ll f o r h i re ?
Will y e to y o ur ho mes r eti r e ?
’
Lo o k behi n d y o u ! th ey r e a-fire !
A n d , bef o r e y o u , see
Wh o h av e done i t l— f r o m th e v ale
On th ey co m e —And will ye q u ai l ?
Lead en r ai n an d i r o n h ai l
L et th ei r welco me be !
2 27
PR E PO S I T I O NS
1 . C o me i n to th e h o use, P a ul . 2. DO no t bri n g the d o g

with y o u. 3 . T ak e hi m to th e barn .
In th e first .
sen ten ce, th e li ttle wo rd in to i s used to
sho wthe relati o n between the n o un ho use an d th e v erb
co me P aul u n d ersto o d fr o m it tha t h e was to en ter
.
th e h o u se .
In th e seco n d sen ten ce, th e wo rd wi th i s u sed to

S ho w the r ela ti o n between th e pr o n o u n yo u an d th e
verb bri ng . Fr o m i t Pa ul k n ew th at the do g wa s n o t
to en ter th e h o u se with hi m .
In th e thi r d sen ten ce, th e wo rd to i s used to sh o w

th e r ela ti o n between th e n o u n barn an d th e v erb ta ke .
Wh at d id Paul learn fro m it ?

Wo rds li ke i n to wi th to th at ar e used with, , ,
n o un s
an d p r o n o un s to sh o w their r ela tio n to so m e o th er
wo rd in the sen ten ce, a re ca lled e

p p
r o si ti o ns .
Defini ti o n . A prepo si ti o n i s a wo rd ,
used with a no un o r
pr o no un to sho wi ts r elati o n to so me oth er wo rd or wo rds in

the sentence .
Ex erci ses . S ho w the mea ni ng of the i nclo sed wo r ds

by p erf o r mi ng ea ch act sugges ted i n the sen tence
on
u n d er
P lace y o ur bo o k befo re o u d esk

y r .
beh i n d
‘
OVC I
P R E P O S I T I ON S 211
II . T ell i n co mp lete sen tences wha t yo u did i n ea ch
cas e .
What ar e wo rds u sed wi th n o un s o r p ro n o un s to

sh o w relatio n to o th er wo rd s i n th e sen ten ce ca lled ?
Wha t prepo sitio n s ha ve yo u u sed i n thi s lesso n ?
Ex erci ses . B etween an d a mo ng . T h e best wr iters

use between when they spea k o f two perso n s or th in gs
o n ly ; th us,
1 . Between th e da rk an d th e d ayli gh t co m es th e twi li gh t .
2 . Between th e m o un ta i n an d th e sea la y th e villa ge.
3 . Between two lin es of so ldi ers, h e march ed to hi s shi p.
T h ey use a mo ng when s ea k in g
p of m o re th an
two
1 . T h ere h e sto o d a mo n g a cro wd of bo y s no c lean er
th an hi mself
2 . Yo u wi ll fin d i t a mo n g th e bo o k s on that sh elf .
3 . H er e ar e all co lo rs r ed , blu e, green , p ur ple, y ello w,

’
o ran ge . I sn t i t ha rd to ch o o se a mo n g so m an y ?
I . C op y the i ven abo ve

sentences
g .
II . Fill the bla nks wi th the p rop er wo r d, between or
a mo n g :
1 .
y o u and me, th ere i s no su ch thin g as a gh o st.
2 . Stan d Jaco b an d H an s .
3 . so man y, th e lad was h ard to fin d .
4 . P ut th e j elly two p i eces of bread .
III . Use the wo r ds between a nd a mo n g in sentences
f
o y o ur o wn .
A LI T T LE H IS T O R Y S T O R Y T O B E R ET O LD
Israel Putna m was a man who lo v ed bo th h is h o m e

a n d his co u n try a n d fo u gh t br a vely fo r th em R ea d .
this sto r
y a bo u t hi m
A bo ut th e y ear 1 7 3 9 , P utnam wen t to C o nn ecti cut to b u ild
a h o me T h e co u n t ry was u n settled
. D an ger s an d h a r d .
shi p s wer e m an y an d gr eat. A mo n g o th er thi n gs, th e p e o
ple su ff er ed lo ss th ro u gh wo lves . In o ne n i gh t P u tn a m
h ad sev en ty fin e sh eep an d go a ts killed , an d many la m b s
an d ki d s wo un d ed by an ,
o ld wo lf .
T hi s o ld wo lf h a d lo n g escap ed captu r e. A t last, a p a r ty

was m ad e up to h un t h er to h er d eath . S h e to o k r efu ge in
h er d en . D o gs, gun s, fir e, sulph ur , co uld n o t f o r ce h er o u t,
no r c o uld a ny m a n be h i r ed to go i n af te r h e r A t la st, .
in spi te of all th at h i s f ri en d s co u ld say , P utn am m ad e

r ead y to go i n to th e d en . H e to o k O ff hi s c o at a n d wa i st
co at, an d f asten ed a lo n g ro p e to o ne leg
. Wh en h e ga v e
th e si gn , he was to be pulled o ut wi th thi s ro
p e .
H eadf o r emo st h e c r e pt in . With i n all was as d ark as
n i gh t, an d as sti ll as d eath . H e li gh ted so me bi r ch bar k

th at h e h ad bro u gh t . In th e en d o f th e ca ver n sat th e
fierce O ld beast . At si gh t o f th e i n tru d er sh e gr o wled an d
gn ash ed h er teeth . P u tn am gav e th e si gn , an d th e

T h en
men o u t si d e p ulled hi m o u t so q u i ckly th at h i s sh i rt was
alm o st to rn f ro m h i s ba ck .
D o yo u t h i n k th at he ca me o u t becau se h e was afr ai d ?

By no mean s ! He n eed ed hi s gun H a vi n g lo ad ed i t, h e
.
wen t back i n to th e d en . T h i s ti me th e wo lf Sp ran g at h i m .
A t th at i n stan t, th e gu n went O ff , an d P utn am, h alf stun n ed

2 14 E L E ME N TA R Y L E S S O N S I N E N GL I S H
229
SILENT R EA DIN G A ND M E NT A L PI C T UR IN G
Barbaro ssa
M any h u n dr ed y ea rs ago G er man y h ad a g at
r e and j ust
E mper o r called Fred er i ck B arbaro ssa, because of h is lo n g r ed
beard .
Wh en he was already an O ld man , Bar bar o ssa un der to o k
a j o urn ey to th e H o ly Lan d, tak i n g wi th h im o ne h un dr ed

an d fifty th o u sand of h i s best so ld i er s. O n e d ay thi s great
ar my h ad to cr o ss a br o ad ri v er . T he E mper o r , wi th o ut wai t
i n g to d i smo un t f ro m h i s h o r se, plun ged i nto th e str eam an d
was d ro wn ed .
H i s b o e h ear ted
r k n -
so ldi er s carr i ed th e bo d y back to Ger
many an d p laced i t i n a d eep cavern f ar up a mo untain
si d e T h e peasan ts ev en n o w po i nt o ut th e mo uth o f the
.
cavern T h ey say th a t wi th i n i t th e E mp er o r r ests in an

.
en ch a n ted sleep . On ce every h un d red year s, so th ei r story

r un s, B ar bar o ssa wak en s . He sen d s a d war f to see if the
rav en s fly abo u t th e mo u n tai n peak . I f th ey ar e seen, the

E mp ero r si n k s agai n i n to a cen tu ry O f sleep .
B arbar o ssa si ts, they say , lean i n g u po n a great st o n e table

th r o u gh whi ch h i s lo n g red bea r d h as gr o wn, r ea ch i n g th e floo r
of hi s c a vern , a nd wi n d i n g i tself abo ut th e table T h us he .
sleep s an d wai ts f o r th e h appy h o u r wh en r a ven s shall no
mo re fl y abo u t th e m o u n ta i n . T h en wi ll he co m e f o rth with

h i s kn i gh ts an d bri n g back gr eat glo ry to G ermany .
S tud y of th e S to ry R ea d this legend

. through
T hen stu d i o llo w
silen tly .
y t as
f s
I . F r eder i ck B a r ba r o ssa , wh o was he Why was he called

B arbar o ssa R ead th e fir st paragraph agai n.
L E GE N D S A N D O T H E R TA L E S 21 5
II T o the H o ly L a n d
. . Wh at i
p gl r i m a ge d i d F r ed er i ck
u n d ertak e W h o wen t wi th hi m H ow did it an d ?
R ea d th e seco nd p ar a g p
r a h a ga in . P i ctu r e th e aged mo n
a r ch in hi s h eavy ar m o r, p lun gi n g i n to th e strea m .
I II . T he sa d r etu r n . W h ere d i d th e so ld i er s take th e

bo dy of th ei r E mp er o r W h at sto ry d o th e p easants tell
a b o ut th e c a vern R ead th e th i rd para gr aph .
’
IV . B a r ba r o ssa s sleep . Desc ri be th e E m pero r asleep .
W h en wi ll he c o me f o rth W h at wi ll h e bri n g to G er
m an y R ead th e last p ar agraph .
Oral Ex erci ses . I . R ead the sto ry a lo ud .
II . C op y the top i cs p ri n ted i n i ta li cs . Use th em as
aplan to h el
p y o u i n telli n
g th i s fa m o u s le
gen d of
Barbaro ssa T ell the sto ry f r o m begi nni ng to end

. .
23 0
LE GE N DS A N D O T H E R T A LE S
T he sto ry of Ba rbaro ssa belo n gs to a cla ss o f

sto r i es ca lled legend s . Legen d s tell a bo ut thi n gs
th at h a ppen ed lo n g, lo n g a go In . su ch sto r i es, th e
tr uth i s mi n gled wi th m u ch th a t can n ev er be pro v ed ,
but tha t ma n y peo ple believ e, n ev er th eless T he .
mo st famo us legen ds belo n g to a ti me W hen co mmo n

o
p p
e le co uld no t write do wn true a cco un ts o f what
was h appen in g , an d wh en th er e were n o n ewspapers
or m a gazin es to pr eser ve th em .
What do yo u th in k tru e i n th e sto ry o f Barbaro ssa ?

T h e sto r ies O f Kin g A rthur an d o f William T ell are
legen ds T here a r e so m e i n ter esti n g legen d s co n
.
nected with th e h is to ry o f o ur o wn co u n try ; th e o n e

21 6 E L E M E N T A R Y L E S S O N S I N E N G LI S H
th a t tells h o w th e In d ia n Po ca ho n ta s sa v ed the lif e

of C aptain J o hn Smi th is an es eci a l
p fa vo ri te wi t h
ch ild ren . C a n yo u tell i t ?
Yo u h a v e h ear d o r rea d f a bles, myths , f a iry sto r ies,
legend s, a n d tr ue sto r i es sin ce yo u were a li ttle ch ild .
DO yo u lik e o n e kin d o f sto ry better tha n an o th er ?

Which kin d do yo u like best ? Do yo u kno wwhy ?
23 1
T h e Pi per
Pi p i n g d o wn th e v alle
y s wi ld,
Pip i ng so n gs of
p leas an t glee .
On a clo u d I sa w a ch i ld ,
A n d h e, lau gh in g, sai d to me
”
P i pe a so n g abo u t a lamb,
S o I pi p ed with merr y ch eer .
“ P i er i t h t ai n
p , p p e a so n a
g g
So I p i ped : h e wept to h ear .
D ro p th y p i pe, th y h appy Pi pe!

”
S i n g th y so n gs o f h ap py ch eer z
So I sun g th e same a gai n,
Whi le he wept with j o y to h ear .
si t th ee d o wn an d w
“ P i er r i te
p ,
In a bo o k th at all m ay r ea d
So h e f r o m my si gh t ;
v an i sh ed
A n d I plu ck ed a h o llo w r eed ,
A n d I ma d e a r u ral p ,
en
A nd I sta i n ed th e water clear,
A nd I wro te my h ap py so n gs
E very ch ild m ay j oy to h ear

—W
.
rr.r. u m BLA KE .
L ear n these m err y li nes . Wha t do they m ean ?

S tudy this descrip ti o n o

f R o bin so n C ru so e
’
I h ad a gr eat sh a p eless c ap m ad e o f go at s ski n , wi th a
grea t fl ap h a ngi n g d o wn beh i n d , as well to k eep th e su n
fr o m my n eck as to p re ven t th e r ai n f ro m r un n i n g i n to my
neck .
j acket ’
I h ad a sh o rt of go a t s sk i n, th e sk i rts c o mi n g
do wn to abo ut th e mi d d le of my th i gh s, an d a p ai r O f o p en
kn eed br eech es of th e sam e . T h e br eech es were mad e o f
th e ski n O f an Old h e go at,
-
wh o se h ai r r each ed to th e m id
d le of my legs . S to cki n gs an d sh o es I h ad n o n e, bu t h ad
mad e me a p ai r Of so methi n gs, I scar ce k n ew wh at to ca ll
th em, to fl ap o ve r my legs ; b an d
u t o f alace o n ei th er si d e
mo st ba rbar o u s shape, as i n d eed wer e all my clo th es .
’
I h ad o n a br o ad belt o f go a t s ski n d r i ed , an d i n stead o f
a s wo r d an d d agger th ere h u n g f r o m i t a li ttle bo w an d a
h atch et . I h ad an o th er belt n o t so br o ad , whi ch h un g o v er
my sh o uld er a n d at th e en d of i t, u n d er my lef t a r m, hu n g
’
two po u ch es of go m y p o wd er an d sh o t
a t s sk i n f o r At .
my back I car ri ed my basket, o n my sh o uld er my g un , an d

o ver my h ead a gr eat, clu msy, u gly go atski n u m br ella, but
wh i ch , af ter all, was th e m o st n ecessary th i n g I h ad a bo u t

me n ex t to my gu n .
Oral Ex erci ses . I C an y o u ma ke a r o ugh sketch

.
of C ru so e ? N o ti ce wha t is descr i bed i n each p a r a

gr a
p h . C o u ld yo u use th i s plan i n d escr ibin g the d r ess
o f an In d ian ? A n Eski mo ? On e o f the Pilgri ms
II N o tice ho w ma ny p hr ases are used i n this
’
. ex er
cise . P i ck o u t ten .
S T OR I E S TO BE T OL D 21 9
III . Perh aps yo ur teach er will r ead to yo u Whi t

’
ti er s Barefo o t Bo y, so tha t y o u m ay beco me a o
qu a i n ted wi th a fin e d escri pti o n in po etry .
23 4
S T O R IE S T O B E T O LD
A Dangero us Vo y age
1 . Warm d ay i n early spr i n g i ce alo n g sh o r es o f cr eek
- b oys on i ce p lay i n g wi th lo n g po les

— wi
.
2 . I ce, bea ri n g th e bo y s, b reak s O ff f ro m sh o r e s n gs
i n to c u r ren t —fl o ats slo wly d o wn stream —bo y s lau gh i n g .
3 C reek bec o mes n arro w cu r r en t gro ws f aster cri es o f
—p
.
,
bo y s — un d er bri d ges —p eo p le on b ri d ge o les caugh t
b o y s, f r i gh ten ed an d co ld , but sa f e .
T ell the sto ry suggested by the o u tli ne . A rrange

y o ur sen tences i n thr ee p a r a r a hs
g p .
A S eri o us M i sh ap
1 . Fr ed ’
s ne w sai l bo a t— two j o ll
y bo y s — a li ght wi n d
—a f ai r sk y —a fin e star t .
2 . C lo u d s gath e r sq ua ll —sa 1 to rn
i —bo at o v er tu rn e d
bo y s i n water — wi m
s to bo at .
3 Bo ys cli n g to si d e s of bo at, sh o u t bo at f r o m sh o r e
—t —h
.
b o y s r escued o wi n g th e bo at h o me o w d i ff eren t th e
r etur n
T ell the story suggested by the o u tli ne S ee each .
p o i n t clea r ly i n yo ur o wn m i nd bef o re yo u begin to tell

a bo u t it
THE S PI
N NE R .
Th e fact wh ich ga ve r i se to th i s po em is very
co mm o n plac e . A gi rl n a m ed L ucy li v ed a sh o r t ,
f life
u n ev en t ul i n th e
co u n try a n d di ed No o n e
‘
kn o ws wh a t h er sur na me wa s I t i s n o t ev en .
kn o wn wh ether sh e was a real per so n o r n o t bu t ,
th e po et Wo r d swo rth ha s m ad e th e n ame I/ uc

y li ve
fo rever thro ugh thi s ex qu isite little wo rd pictur e -

.
T h e first sta n z a m a kes yo u feel th at th e co mm o n ,
h o mely tasks o f d a ily life th o u gh they recei v e n o ,
spo k en wo rd o f pra i se a wa ken a n d stren th en lo v e

, g .
C an y o u see the beau ty o f th e co mpari so n s in th e

seco n d sta n z a ? T h e gi rl was L ucy this o r L ucy tha t
to m o st o f th e few wh o kn ew h er, bu t to the o ne wh o
lo v ed h er, sh e wa s a mo dest fl o wer , a br igh t sta r .
Do yo u catch th e mean i n g o f th e la st sta n za ? It

tea ch es th a t it i s n o t th e bi g, bu stli n g wo rld th at co u n ts
fo r mo st in o ur liv es, bu t th e little h o me ci rcle, th e
h eart ci rcle of tho se who m we lo v e an d who lo v e us .
237
C O NJ UN C T IO N S
S tud y these sen tences
1 . B lan ch e an d I r en e a r e co m i n g n o w .
2 . Blan ch e or I ren e i s co mi n g n o w .
3 . Blanch e i s no t go i n g to sch o o l bu t to ch u rch .
In th e first sen ten ce, Who ar e co mi ng N o tice

a sk
tha t two no u ns Bla n che I r en e f o r m the subj ect

, ,
T he ,
.
li ttle wo rd a nd i s u sed to j o in these two wo rds as

subj ect o f th e sen ten ce .
C O N J UN C T I O N S 223
Wha t perso ns are spo ken o f in th e seco n d sen ten ce ?

N o tice tha t the no uns Blan che, Ir en e f o rm the subj ect
of the seco nd senten ce T h e little wo rd o r j o i ns th ese
.
two wo rds as sub ect o f j th e sen ten ce .
In th e th ir d sen ten ce, two g ro u

p
s of wo rds , to
scho o l and to chur ch, m ay an s wer th e qu esti o n ,
Wh er e i s B lan che go i ng T o bri ng th em to geth er

or co n n ect th em in o n e sen ten ce th e wo r d bu t is
used
Wo r ds that j o in to geth er or co n n ect o th er wo r ds

a re called j
co n uncti o ns . A nd , o r, bu t, j
a re co n u n c
ti o ns .
Defini ti on . A co n uncti o n
j is a word used to co nnect words
or gr o ups o f words .
Oral Ex erci ses . I . P i ck out the j

co n uncti o ns
1 . He sells p ean u ts a n d can d y .
2 . Bo o ks an d a
p per a r e p r o v i d ed.
3 . M i lli e or Willi e m ay go .
4 . C all th e d o g o r th e cat .
5 H e d i d n o t go to th e ci r cu s but to th e ball game

’
. .
’ ’
6 . H e ll get h i t i f h e d o esn t lo o k o ut .
II . Use the wor ds a n d, o r , if, but, i n these sen
tenoes
1 . Jo h n l
p y
a s s i n gs .
J o h n must get h i s lesso n s wi ll f eel
t
he so r ry .
W e sh all go ’
i t d o esn t r ai n .
He c a me
’ h im
I d id n t see .
’
!
0 H e talks s weetly I d o n t beli ev e a wo rd th a t h e
6 I were ’
.
y ,
o u I d keep qui et .
224 EL E M E N T A R Y L E S S ON S IN E N GL I S H
238
C O NJUNC T I O NS A ND VE R BS
S tudy
1 . J o seph a nd T h eo d o r e a r e at th e d o o r .
2 . Joseph or T heo d o re i s at th e d o o r .
Ho w man y perso n s d o es the first sen ten ce descr i be

as bein g a t th e d o o r ? Ho w many wo uld yo u see if
yo u o pen ed th e d o o r ? W hom w o u ld
yo u see ?
What wo rd co n n ects thei r n ames in th e sen ten ce ?
Each n a me is a sin g ula r n o un , but the v erb a r e is -
used becau se the predica te a sser ts so meth in g o f th e
two bo y s t o geth er .
Wh at i s th e mean in g of the seco n d senten ce
Ho w man y perso n s wo u ld y o u fin d at th e do o r i f
o u o pen ed i t ? T h er e are two n a mes i n th e subj ec t
y
j o i n ed by o r, but the v erb is is used because th e
red icate asserts so meth in g o f ei th er bo y alo ne, no t o f
p
bo th to geth er .
Oral Ex erci ses . I . F ill the bla nks wi th the p rop er

wo r d i s, ar e ; r un , run s ; wa s were ;,
h a s, have
1 . Jo h n and James h ere .
(B o th
2 . J o hn or Ja mes h ere .
(W h i ch o n e ? )
3 . Jo h n o r J am es th e bo o k ( W. h i c h o n e ? )
Jo h n an d J am es th e bo o k (B o th
.
)
Jo h n an d J am es at sch o o l y est erd ay .
(Bo th )
Jo h n or J a m es a bsen t last week .
(Whi ch o ne
J o hn an d J ames a fo o t r ace .
(B o th ) .
Jo h n or James a h ead .
(Wh i ch o ne ? )
Ex erci ses .
—I . F i nd the subj ect a nd p r edi ca te of each
f
o thef w i
o llo
n
gg p f
r o u s o w or d s . Use each gr o up as
a r t o r d i vi si on o
a
p f a sen tence
T h at J ac k bu ilt ; th at lay i n th e h o use ; tha t ate th e malt ;

to wh o m we wri te letters ; f ro m wh i ch we r ea d ; th at I lo st .
What is a divisio n o f a sen ten ce h a vi n g a su b ect j

an d p r edi cate ca lled ? Wha t cla uses h a v e yo u u sed
in thi s ex ercise ?
II . Use these cla uses i n sen tences
1 . Wh en the win d blo ws ; u n til the bell rin gs
where th e i ce i s sm o o th ;
if yo u W h isper .
2 T ha t he is co mi n g ; wher e the fire is ;

. why th e
d o o r Open ed ; what the bo ys were d o i ng .
240
A LES SO N F O R PR A C T IC E
Fi nd two clauses in each o f the f o llo wi ng sen tences .
P i ck o u t the su bj ect an d thep r edica te of each clause
1 . T h i s is a g o o d sto ry , whi ch we r ead yesterday .
2 . When win ter cam e , th e po n d wa s fro zen .
3 . I d o n o t hear what y o u say.
4 . Stan d wh en th e bell r in gs .
5 . T hese ar e the skates th a t Ned fo u n d .
6 . T he teacher teach es an d th e ch i ld ren lea rn .
7 . T he win d blo ws gen tly a n d the leav es fall .
8 . Hugh bo wed po litely, an d R uth co urtesied

r acef ully
g .
9 . C ecilia beat ti me, but the bo ys did n o t sin

g .
I N T E R J E O T I ON S 227
2 41
IN T E RJ E C T I O N S
What wo rds in the fo llo win g sen ten ces sho w stro n g
feelin g
H u rrah ! thi s bo o k is n early do n e .
’
Oh , d o n t ! y o u will r ui n y o ur bo o k .
Dear ! d ear ! d i d yo u ev er see such a bo y ?

H ello ! i s th at yo u, Jack
Wo rds lik e hurrah, o h, dear , hello , used to sh o w

sud d en o r str o n g feelin g, are called i nterj ecti o ns .
Defini ti on . A n i nterj ecti on i s an ex clamatory wor d used to

ex pr ess sudd en o r str o ng f eeli ng .
I n terj ectio ns ar e usually fo llo wed

by th e ex clam atio n p o in t.
Ex erci ses . I F i nd the i n terj ec

.
tio ns i n this bi t of wo r d p ai n ti ng
At ev ery tur n th e maples burn ,

T he qu ail i s wh i stli n g f ree,
T h e pa rtr i d ge whi r s, an d th e f r o sted bu r s
A r e dr o ppi n g f o r y o u and me .
H o ! hilly h o ! h ei gh O !
H i lly h o !
I n th e clear Octo ber mo r ni n g
—E
.
. C . ST E DM A N .
II . F ill the blanks wi th a ngel
mo th er i s c o mi n g
back to d ay -
.
a re y o u n ear ly r eady , N ed
wh at a sh ame that yo u mu st go !
242
A PPLYI NG WH A T YO U KN O W
I n the sto ry o n
p age 206 fi nd wo r ds or sen tenc es
to illustr a te the f o llo wi ng

I . Kin d s o f sen ten ces .
1 . Declarati ve sen ten ces.
2 . E x clamato ry sen ten c es.
3 . I n ter r o gati ve sen ten ces.
4 . I mperati ve sen ten ces.
II . Use o f capital letters .
5 . P r o per n ames.
6 . T he wo rd I .
7 . T h e begi n n i n g o f a sentence.
8 . T h e begi nn i n g of a di rect quo tati o n .
II I . Q u o ta tio n s .
9 . A q uesti o n a s a quo tati o n .
10 . A n ex cla ma ti o n as a qu o tati o n .
11 . A n i mper a ti ve sen ten ce as a q u o tati o n .
12 . A d i vi d ed qu o tati o n .
IV Use o f co m ma s .
13 . I n d i vi d ed qu o tati o n s .
14 . B ef o r e quo ta ti o n s .
15 . Wi th perso n ad d ressed .
16 . In a ser i es.
V Use o f wo rds in sen ten ces.
1 . No un s . 6 . A dverbs .
2 . Verbs . 7 . Pr epo si ti o n s.
3 . Ver b ph rases
-
. 8 . C o nj un cti o n s .
4 . P ro no u n s . 9 . I nterj ecti o ns .
5 . A d j ecti ves . 10 . P h rases .
11 . C lau ses .
2 44
A N E XE R C I S E I N C O M PO S I T IO N
A rbo r Day
1 . H o wsuggested .
—J . S terli n g M o r to n of N ebr ask a . W h at
h e h o ped to acco mpli sh th ro u gh i t
—
.
2 D ate of celebra ti o n
. What was or wi ll be d o n e i n
y o ur sch o o l th i s y ear ?
3 . R esults . Wh at i s th ere to Sh o w th at th e wo rk of
o th er
y ea rs h as a cco mpli sh ed so m eth i n g ?
4 . S uggesti o ns —Wh at can y o u th i nk of th at wo uld ad d
to th e pleasur e or th e p r o fit of th e d ay
Wri tef o ur p ar agr ap hs as o u tli n ed a bo ve M a ke si m i .

!
lar o u tli nes f o r Fla g Da y Bir d Da y M emo ri al Day

, , .
2 45
A ’
Po et s C all
L i ves of gr eat men all r emi n d us
We c an mak e o ur li ves subli m e,
A n d , d ep ar ti n g, lea ve beh i n d us
F o o tpr i n ts on th e san d s o f ti me ;
F o o tpr i n ts, th at p er h ap s an o th er,

’ ’
S ai li n g o er li f e s so lemn mai n ,
A f o r lo r n an d sh i p wr eck ed br o th er ,
S eei n g, sh all tak e h ea r t aga i n .
L et us th en b e u p an d d o i n g,
W i th a h ear t f o r an y f ate ;
S ti ll a ch i ev i n g, sti ll u r su i n g,
p
L ea rn to labo r an d wai t
to .
—H E N R Y W . LO N G F E LL O W
.
23 1
'
A P OE T S CA L L
I n th e fo rego in g lm o ns y o u h av e st ud i ed wi th
y o u r tea ch er m a n y selectio n s fro m th e be st po ems in
t h e E n glish la n gua ge . I t is ho ped th a t th ereby y o u
h ave seen h o w lo fty
ma y be ex pressed i n feeli n gs
la n gu age m o st bea utiful a n d yet so simple tha t yo u n g
c hi ld r en ca n u n d ersta n d i t .
If y o u h av e co mmi tted a ny of th ese selecti o n s
to m em o ry , y o u ha ve m ad e fo r yo ur self n ests o f
leasa n t th o u h ts, o f bea u tif ul th o u gh ts, p r o o f a a in st
p g g
a ll a dv ersi ty , as Mr . R uski n sa y s . T ry in yo ur
o wn sp ea ki n g an d wr i tin g to a d o rn
y o ur lan
g ua
ge by u sin g wha t y ou ha v e lea rn ed f ro m th e
ets
po .
T h ere i s, h o wev er , a n o th er m i ssio n o r ca lli n

g wh ich
th e po et h as besid es m a k in g hi s rea ders deli gh t in
beau ty o f ex pressi o n i t i s to a ro u se in them the
d esir e to do n o ble d eed s, to li v e pu re an d u sef ul
li v es . T his, of co u rse , is wo rth m u ch m o r e than
bea u ty of ex r essi o n ,
p d esi r a ble as th a t is . DO yo u
thin k th a t M r Lo n gfello w h ad
. su ch a u r o se i n
p p
m in d wh en he pen n ed th e li n es whi ch ar e
p r in ted a t
the begin n i n g of thi s lesso n ? T h ey a re th e co n
elu di n g sta n za s o f a po em wh o se title i s A Psa lm of

”
Life . I t is o ne of th e best lo v ed of Mr . Lo n g
’
fello w s po em s .
So m e d ay yo u will learn the en ti re

po em . L ear n
no w an d liv e th e pa r t o f i t th a t h as been pr in ted in
“ ’ ”
this bo o k a n d h as been n a m ed A Po et s C all .
Wha t po et ? A ca ll to wh o m ? A ca ll fo r wh at ?
E XER C I S ES IN WO R D S T UDY
T h ere ; T h ei r
Befo r e yo u lay a si de th i s little bo o k , ta ke a lo o k at

two li ttle wo rd s whi ch a re o f ten wri tten im pr o pe r ly .
R ea d the f o llo wi ng sen tences in which they a re u sed
ro rly
p pe
1 . W hy are A da an d H en ry stan d i n g ther e so qui etly

2 . T h ey d o no t k n o w thei r a r i th meti c lesso n .
3 . T h ey f o rgo t th at ther e ar e t wo f o u rs i n ei gh t .
4 . T h ey m ay go to thei r seats n o w .
T hei r i s a p ro n o u n u se d i n stead o f a n o un o r n o un s
sho win g o wn ersh i p or

p o ssessi o n .
Ther e i s an a dv er b us ed to d en o te or tell pla ce .
T he wo rd there i s so m eti mes u sed wh en we wish

to pla ce th e subj ect a fter the pred i ca te . See the
cla use i n sen ten ce 3 .
I Use p rop er ly
. the wo r ds, there, th eir
1 . was an o ld wo man wh o li ved i n a sh o e .
2 . H o w d id sh e get Q
3 . T h r ee li ttle ki tten s lo st m i tten s .
4 . is no p la c e lik e h o m e .
II . Use the wo r ds, there, thei r, i n sen tences o f y o ur
o wn .
III Wr i te five p ai rs of wo r ds a li ke i n so und

. but
d ilfer i n g i n m ea ni n g Use them i n sen tences
. .
2 43
C H A R A C T E R S T UDIES
On e of th e m o st d eligh tful th i n gs a bo u t bo o k s i s
tha t th ey bri n g i n to o ur li fe so ma n y new o le
p p
e .
T he la n d of S to ry bo o k s
-
is full of i n ter estin g
o le,
p p
e h un d red s a nd h un d r eds of th em . E v en this
o ne little bo o k ha s ma d e yo u acqu a i n ted wi th a
o d l n u mber
g o y .
T h ere a re the bo ys a n d gi rls Miss M a ck in stry h as

d ra wn fo r y o u, Li ttle S un rise, Ma ri an Bro wn , the
bo n fire bo y, the dear li ttle girl wi th wi stful face and

empty bi rd ca ge Do yo u th in k th a t th ey ar e li ke
.
bo ys an d girls wh o m yo u see ev ery day ? Yo u must

cho o se n a mes fo r ev ery o n e o f them .
Besid es th ese, th ere a re th e Fr en ch ch ild r en r ea d
i n g to th ei r teach er, an d
tho se ga z i n g in to th e to y
sh o , th e sa ilo r bo an d h i s bro th er s an d si ster s, the
p y
two m isch i ef m a kers -
Befo re th e Ju dge,
”
Willi e
Wi n kle , an d Po lly R o ck well wi th h er sch o o l ex erci se,
a n d, la st but n o t least, ta lka ti v e li ttle T h o ma s Ed iso n

Jo h n so n . Do th ey no t seem as familia r to yo u as
o u r sch o o lm a tes ?
y
C an yo u r emember sto ries wh ich m a ke yo u ao
u i n ted wi th r eat m en , li k e Wa sh in gto n ; wi th
q a g
h er o es, li k e Leo n i d as ; g wi th en tlemen an d so ld i ers,
like Sir Ph ili p Sid n ey ; a n d wi th the pri n ce o f sto ry

teller s, JE so p, a n d h i s a n i m al fo lk ?
T ell wha t yo u a dmir e i n the char acter of each p erso n
na med a bo ve.
C H A R A C TE R S T UD IE S 23 5
249
A . Thi n k of a llthe cha r a cter s yo u ha ve lear ned to

kno w as yo u ha ve stu d i ed this bo o k T ell: .
I . Wh i ch
i s y o u r f av o ri te amo n g all th e bo y s ? Wh i ch i s
o u r f av o r i te a mo n g all th e gi rls M k li t f i b
y a e a s o s x o y s
an d si x gi rls wh o m y o u lik e better th an a n y o th er s .
IIWh i ch i s y o u r f av o ri te ch ar acter am o n g th e gr eat men

.
n amed ? Whi ch i s y o u r f a vo r i te h er o i c ch ar acter Wh i ch

act o f co u r tesy d o y o u th i n k th e mo st gr ac ef ul an d ad mi r able ?
III . W h i ch o n e o f M i ss M acki n stry s bo y s an d gi rls d o
’
y o u li k e best
IVWh i ch i s y o ur
. f av o ri te amo n g th e P i ctu r e S tu d i es
V Wh i ch i s y o u r
. f a vo r i te po em Y o ur f av o r i te sto ry ?
F able L ullaby
B . M an y of th e sto ri es wh ich y ou hav e read in

thi s bo o k tell yo u so meth in g a bo u t th e co un tri es
th at fo rm th eir ba ck gro u n d o r settin g T o wh a t .
co u n try belo n gs the sto ry of Ba rbaro ssa ? T he sto ry
th e S ph i n x ?
of T he sto ry o f th e bu r n i n g r i ce field s ?
Wh at co un try is the ba ckgro un d o f yo u r fav o r ite
sto ry ? A sk or tell a bo u t the co un tr
y as f o llo ws
I . P o si ti o n , z o n es, o r bo u n d ar i es .
II . S i z e, as co m p ar ed wi th o th er co un tr i es o r states.
I II . R eli ef , i ts h i gh lan d s an d lo wlan d s .
IV . D r ai n age, i ts lak es a n d r i v er s .
V . C li ma te, i ts temp er atu re a n d r ai n f all .
VI . P r o d ucti o n s, n atu r al an d man uf ac tu r ed .
VI I . P eo ple, wh at th ey d o , h o w th ey f eel to ward th ei r
c o u n t ry, th ei r n ati o n al so n gs .
23 6 EL E M E N T A R Y L E S S ON S I N E N G LI S H
2 48
A F arewell
Wh en p p
eo le wh o lo v e ea ch o th er an d wh o h a ve
been lo n g to geth er go away , the o n e fro m th e o ther ,
d o yo u thin k th a t th ey fin d i t easy to bid farewell ?
Farewell ! wh at a wo r d i t i s F are yo u well, i t .
mea ns .
M y fai r est ch i ld , I h av e no so n g to gi ve y o u ;
N O lar k co u ld i
p p e to sk i es so d ull an d gr ay;
Y et, a re we p art , o ne lesso n I can lea ve y o u
For every d ay .
B e go o d , sweet m ai d, an d let wh o wi ll be clever ;

D o n o ble thi n gs, n o t d ream th em all d ay lo n g
An d so m ak e li f e, d ea th , an d th at vast f o r ever
On e gran d , sweet so n g .
C H A R L E S KI N G S LE Y .
T h ere i s a n o th er an d m o re beau ti fu l wo rd spo k en
at pa r ti n g Go o d by -
. Go d be wi th ye, i t means .
Go o d by -
.
23 8 E LEM E N TA R Y L E S S ON S I N E N GL I S H
H i stor y of L i ttle Go o d y T wo S ho es E d i ted by C . W elsh .
H o useho ld S to r i es J L an d W
. . . K . G r i mm
F a i ry T a les H C A n d er sen
. . .
B lu e F a i ry B o o k A n d rew L an g
Kw
.
F a i ry T ales every Ch i ld sho uld no . H W M abi e

. . .
’
A l i ce s A d ven tur es i n Wo nd erla nd L ewi s C arr o ll .
Th r o ugh the L o o king-gla ss Lewi s C ar r o ll .
F R
. . S to ck to n .
F R
. . S to ck to n .
Wo n der B o o k -
N ath an i el H a wth o rne .
The H er o es C h ar les Ki ngsley .
F ifty F a mo us S to ri es R eto ld J am es B ald wi n .
J u st-
so S to r i es R ud y ar d Ki plin g .
S to ri es of H er o i c D eed s J ames J O h o n n o t .
S to ri es of Gr ea t A mer i ca ns f or L i ttle
A mer i ca n s E d ward E gglesto n .
S to r i es of A meri ca n L ife a nd A d ven tur e E d war d E gglesto n .
T o by T yler J ames O ti s .
Th e Lo n eso mest D o ll A bbi e F ar well B r o wn .
C hi ld r en of the C o ld F r ed er i ck S ch watka .
.
J ua n a n d J ua n ita F C B ay lo r
. . .
Th e P eterki n P ap er s Lu cretia P H ale . .
T he S to ry of K n i ght a nd B a r ba r a D av i d S tar r Jo r d an .
“
B ea r S to r i es r eto ld f ro m S t N icho la s
. .
II . Boo k s th at Fifth and S i x th Gra des j

en o y
T a nglewo o d T a les N ath an i el H a wth o rne .
Ki ng of the G o ld en R iver J o h n R uski n .
Wa ter B a bi es C h ar les Ki ngsley .
Th e N ew Wo r ld F a i ry B o o k H o war d A n gu s
Kenn edy .
Th e L i ght P r i n cess G eo rge M acd o n ald .
’
Gu lli ver s T ra vels J o n ath an S wi f t .
R o bi n so n C r u so e D an i el D ef o e .
L o bo , R ag, and Viaen E T h o mpso n Seto n

.
-
.
A P P E N DIX 23 9
Ju n gle B o o k R u d yar d K i plin g .
Th ings wi ll ta ke a T urn Beatri ce H ar rad en .
T en B o ys o n the R o a d f r o m L o ng A go J an e A n d r ews .
M erry A d ven tu r es of R o bi n H o o d H o ward P y le .
T en Grea t E ven ts i n H i sto ry James J o h o n no t .
H ei d i J o h ann a S py ri .
J acka n ap es J H E wi n g
. . .
Li ttle L a me P r i nce D M u lo ck C r ai k
. .
B o ys of Other C o u ntr i es B ay ar d T ay lo r .
’
T o i n ette s P h i lip M r s C V J am i so n
. . . .
L i ttle S mo ke W . O S to d d ar d
. .
I/
i ttle J a rvi s M E S eawell
. . .
D eca tur and S o mer s M E S ea well

. . .
S to ry o f a Ba d B o y T B A ld r i ch
. . .
B etty L ei cester S O J ewett

. . .
J a ck H all R o ber t G ran t .
’
B i r d s Ch r i stma s C a r o l K . D . Wi ggi n .
’
Kr i sty s Queer Chri stma s Oli ve T h o rn e M iller .
C hr i stmas E very D a y, a n d Other St o r i es W D H o wells

. . .
C a r r o ts M r s M L M o leswo rth
. . . .
L i ttle Wo men L o ui sa M A lco tt . .
L ittle M en L o u i sa M A lco tt . .
D a n d eli o n C o ttage C arr o ll W atso n R a n ki n .
N ights wi th Un cle R emus J o el C h an dler H a r r i s .
L i ttle M r Th i mblefinger
. a nd H is Qu eer
J o el C h a nd ler H ar ri s .
I II . Boo ks f o r th o se wh o r ead well

L i ttle L or d F a un tler o y F r an ces H o d gso n
B urn ett .
P r i n ce and P a up er M ark T wai n .
When I was yo u r A ge L aur a E R i ch ard s . .
T o mmy-A n n e and the T hr ee H ea rts M 0 . . W r i gh t .
Wi ld N ei ghbo rs E r n est I n ger so ll .
S wiss F a mi ly R o binso n J R Wy ss
. . .
Black B ea uty A n na S ewell .
Wo n d er Book f
o H or ses J ames Bald wi n .
S to ry of R o la n d . J ames B ald wi n .
S to ry of S i egfr i ed J ames B a ld wi n .
N o r se S to r i es R eto ld f ro m th e E d d as H a milto n Wr igh t M abi e .
H ero es of A sga rd A . C . a nd E K ea r y
. .
I n the D a ys of G i a n ts A bbi e F a rwell B ro wn .
B o o k of S a i nts a nd F r iend ly B easts A bbi e F arwell B r o wn .
T he B oy
’
s Odyssey W . 0 . P erry .
K n ights of the R o un d T a ble W . H F r o st . .
T ales of K i ng A rthur E V F ar ri ngto n

. . .
I V Bo o k s to rea d aloud o r sh owto S mall Br oth ers and S i st ers

.
B o ok f N uor sery R hymes E d i ted by C Welsh . .
GOOp s, a n d H o wto be Th em G elett B ur gess .
M o r e Go op s, a nd H o w N o t to be
Th em G elett B ur gess .
’
B a by s Own A lsop Illustr ated by Walter C r an e .
’
M o ther G o o se s M elo d i es E di ted by W A Wh eeler . . .
A , A pp le P i e K ate Green away .
Tw o Wellwo r n S ho e S to ri es
-
Jo hn H assal C C W , . . . Aldi n .
Sto ries i n Verse
Th e F ro st . H an n ah F lagg Go uld .
w - Edw d
Th e O l a n d th e P ussy C a t ar L ear
—L
. .
T he W a lr u s a n d the C a rp en ter . e wi s C arro ll .
F ar mer J o hn Jo hn T . T r o wbr i d ge .
A N i ght with a Wo lf T aylo r

.
— B ayar d .
Th e B a ttle of B len hei m R o ber t S o uth ey

—
. .
T he D u el E ugen e F i eld
. .
Th e I n chcap e R o ck R o ber t S o uth ey .
C asa bla n ca F eli ci a H eman s

—H
. .
T he Wr eck of the H esp er u s W L o n gf ello w

—H
. en r y . .
Th e S keleto n i n A r mo r . en r
y W . L o n gf ello w .
10 T he n an es o f h o li days ; T h anksgi vi n g
.
r as, .
11 . T h e pr o n o un I and th e i n ter j ecti o n O are alway s capi tals .
0 . R EVIE W O F P UNC T UA T I O N
I A peri od i s used :
.
1 A t th e en d o f a d eclarati ve o r an im erati ve sen ten ce.

p
.
2 A fter an abbrevi ati o n ; as, M r , S C , C o

.
. . . .
3 A f ter an i ni ti al ; as, R L S tev en so n

. . . .
II . A n i nterrogati o n po i nt i s u sed at th e en d o f a n i n terr o ga

ti ve sen ten ce .
II I . An ex cla mati o n p o i nt is u sed
1 . A t th e en d o f a n ex c lamato r
y sen ten ce .
2 . A fter a. wo rd or wo rd s ex p r essi n g stro n g f eeli n g .
I V T he Co mma
. T h e f o llo wi n g wo r d s an d gr o u p s o f wo r ds
.
are u su ally sep ar ated f r o m th e r e st o f the sen ten ce b a c o mma

y
o r co mm as
1 . T he na me o f a p er so n ad d r essed ,
—S i ster , Jack i s h er e .
2 . A d i r ect qu o tati o n , I t was th e cat,

”
sai d th e m o u se .
3 . T h e pa rts o f d ates a n d a dd resses

G eo rge Washi n gto n wa s bo rn F eb 22, 1 7 3 2 . .
M r C li n to n B S ti les, A u bur n , N Y
. . . .
4 . Yes wh en part o f an an swer

o r no
H ave y o u wri tten th e letter Y es I ,

h av e wr i tten it.
5 . A ser i es o f wo r d s o r p h r a ses i n th e sam e c o n str u cti o n
ar e sep ar a ted fr o m each o th er by c o m ma s, u n less all th e co n
j u ncti o n s a r e ex
p r essed .
C ali f o r n i a, O r ego n , an d W ash i ngto n ar e P a c ific sta tes .
T h ey ro a med o v er h i lls, th r o ugh v alley s, an d a cro ss
wam ps
s .
V T h e h yphen h as two i m p o r tan

. t u ses
1 . To sepa r a te p a r ts o f a co m p o u n d wo rd ; as,
H o me k eepi n g h ear ts
-
a re h a ppi est .
2 . To Sh o w at th e en d of a li n e th a t a p ar t o f a wo r d is
car ri ed o ver to th e n ex t li n e .
INDEX .
A 88
a n, C o nclusi o n o f letters, 9 8, 108 , 104, 116
. .
A bbrevi a ti o s, 48 , 44 , 46 n n n i
C o j u ct o n s, 222, 228 , 224
.
i l n nan
. .
A ct o n esso n , 29 , 62, 68 , 180, 207, 210 C o so ts , 8 7

d v
A j ecti es, 195 , 19 6, 197
.
n in
C o tract o s, 58 , 59 , 60 , 61, 177
.
A dv er bs, 200 , 20 1 .
.
C r uso e, R o b so , 218 in n .
.
E so 7 , 8, 18 , 284 .
A ld 0 11 , T B ‘48
A lli ngham, W 102
. O 0
D h 44 84 100
as
lp
.
Da 56 98
tes,
, , , .
Day f w k and m n h
.
,
A habet, 85 86
n t 48 44
.
o
A m eri ca s, Gr ea t, 82
s o ee
D l i n n 11 ,
122, 124 , 13 8 , 156.

.
.
ec arat ve se te ce, 2
A mo n g 211
A nd , 15, 3 1 , 47
.
D iy 3
e t 1 2
,
D i in E i i
.
,
nd n escr t x er c ses n, 58 . 7 106, 109,

.
o
er se , H C
,
A 121, 124
p p 11 1 12, 1 18 , 121 , 123 , 188 , 15 1 68 , 198,
.
A o stro h e, so, 61, as, 185 , 186, 189

. .
.
205 , 2 18 , 221
Dic i n i
.
A rbo r D ta t o , A n E x er c se in , 1 7 7
A utum n 227 .
Di i n
sc uss o , 4, 1 7 , 1 18
.
Divid d n
.
e Quo ta ti o s, 148.
125 .
B o y , T h e, 219 .
Emerso n, R W 8 0
n l p . .
B e 21 , 169 , 178 , 224 E ve o e, T h e, 104, 1 05 .

B
.
el
B nn
ls, 94
ett, H H , 184
.
x la a i n E c m t o s, 8 7 , 147 .
e E x clamato ry sen te nce, 185 188 158

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. .
B etween 2 11 , 85, 1 87, 1 91 , 204.

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E o s t o , e erc ses
Bi xp i n d
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rd s, 149 , 166 E by Han , 12, 24 , 88 , 85

B n re ss o
.
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j o r s o n 7 6
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st or o sen e ce, o etr 1 '

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n y 112 ; d i y 8
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t di G ping f w d 6 16 217 ass f
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at a 25 7 9 188 e oes,
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Cl 225 226
a u ses, 41 t o rn e,
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d i 199
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C mma 56 5 7 67 77 7 8 99 100 108 202 H i wa h 16 17
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o n s, E ll 45 nso n , a,
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Hi t y (l tt
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o s t o n, , ) 114 ; t y 212 . s or e er s , s or , .
243
244 I N DE X
H o li da s, No un s
H o me 24, 89 , 65 66 72, 90 , 126, 1 8 7 ,
ead i ng , in
S gular an d pl ur al, 17 7 et eeq .
189 , 140 , 188 , 188, 205 , 288 , 284 . P o ssess iv f m e or s,
H o mo n s, 49 , 282
a pain
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Ho w o et ts C o mmo n T h ing s, 84
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H hen, T h e, 9 2 .
.
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dy P
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O utline fo r stu o f sto ri es, 1 26 ; o f ilgr ims,

n 18 1 d
129 ; o f bir s, 140 ; o f tr ees, 140 ; o f ani
fiz f if 315
p ' 6 0 ute os ,
male, 141 ; o f sec ts, 148 ; o f h o li a s, in dy
n
28 0 ; o f co u tr es, 285 n i
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Owner sh , 50 , 5 1, 185 , 18 6
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I ndi n 1 7 19
a 1 180 .
I ni i l 1 1
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c 148
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In se ts,
Int j i n 227
er ec t o
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P di
h S tu es, 24 , 25 , 41 58 54, 69 , 79,
In ga i n p in t
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5 , 98 , 1 19 , 140,
terr o to o 1 27 147
gativ n 14 1, 17 1 ,
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In terr o e se tence,
18 7 , 19 1 , 1 95 , 199 , 208 , 204 , 20 1 ,
J ack so n, H H , P t f l tt 97 ar s o a e er ,
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P n dd d T h 67 177
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co r 209 er o o n,
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rac t ce n ,
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Plan m k ing 72 1 10 118 150 192 195 204

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u a 64 t q e s, e se a a,
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lay 229 D and li
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o er , e, 48 e eave s,
M n al pict in g and L w 64
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e t 56 68 75 94 1 22ur Sw eet o
L llaby (T i ania) 66
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tu r e s e er s ,82 Th Th 149 e ro s e,
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Tb , to o , two , 27 erse, 118 , 119

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Use u Ver b, A , 169
n n
Use o f Se te ces, 98
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. 95 ,
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Ver bs, 166, 1 67 , 175 , 225 Vo wels, 87
dy nc a . .
Ver b stu to e o ur ge th e u se o f co rrec t

fo rm s : a r c, 2 1, 224 ; be, 169 ; bea t, 162 , a
W shin 11 G eo 8 1 82 e.
begi n , 158 ; blo w, 88 br ea k , 69 ; br i n g,
°
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W ter o rm s 168
, , .
80 ; buy , 7 6 ; ca n , 176 ca tch , 69 ; co m e, i i

Wh tt er 219
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18 ; o r es , 218 ; d i g, 49 d o , 62 , d r a w, W l e Wi n kle 1 00
Wind T h
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Win
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i c e 8 1 go 288
t ow a s, ha ve, 1 8
ter , 1
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W d pi g 6 6 .
1 75 ; lo ve, 17 5 ; m a y , 17 6 ; r id e, 288 or gr o u n 1
W d dy 6
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r i n g , 9 5 ; r i se, 1 10 ; mm 8 1 ; sa y , 8 1 or stu 65 88 1 28 2 , 288

5 pictures, 8, 48 ,
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47 ; see s, 5 ; sh ak e, 88 o rd
é
see, 1 6 , 1 99 221
.
sh i n e, 288 ; sho w , s
80 si ng , 62 ; si nk , o rd swo rth , William,
69 ; si t. 69 ; sp end , 69 ; sp r i n g, 69 ;
stea l, 49 , 162 ; swee , 1 62 ; swi m , 288 ; Xerx es , 86, 1 60 , 162 .
ta ke, 80 ; tea ch , 17 ; tea r , 84 ; th i nk ,

76 ; thr o w, 88 ; wea r , 80 ; wr ite , 8 . Yes and N o , 7 8 , 17 7 .

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M ODERN E NGLI SH

ELEMENTA R Y LESSONS IN ENGLISH

an c e wi th thi s plan , to th e en d th at child r en may vi e w

u n i fy i n g m ed i u m fo r all sch o o l stu d i es and o t o f sch o o l

ex p eri en ces I n d evelo pi n g th e plan , th e

I t i s beli ev ed that th e meth o d of

A ppli cati o n o f the k n o wled ge gai n ed o r feeli ngs a r o used

M uch a tten ti o n i s gi v en to th e c ulti vati o n o f th e i magi

T h r o u gh o ut th e bo o k th e p r eemin en t impo rtan ce o f

lected fa cto r i n lan gu age teach i n g . S electi o n s h a v e been

tr ai n th em to a p er cepti o n o f n i ce lan gu age v alu es . Er e

co r r ect fo r ms of r o n o u n s a n d o f str o n g v erbs m o st co m

ex pr essed i n i t, b ut th e qu ali ty o f i ts so un d also .

tak en i n th e pr epar ati o n of th e li sts submi tted , th at th e

T he au th o rs make grateful ackn o wledgment o f th ei r

fello w, R alph W ald o E mer so n James R ussell Lo well,

T h o m a s B a iley A ld r i ch , E d m u n d C la r en ce Sted man , Ja mes

A selecti o n f r o m th e wri ti n gs o f R i cha r d H en ry S to d

auth o r s an d th ei r publi sh er s, T h e M acm i llan C o mp an y .

A selecti o n f ro m the wr i tin gs of Helen H u n t Jackso n

f r o m th e wri ti n gs o f H o wa r d A n gu s Kenn edy by p erm i s

is u sed by p er m i ssi o n o f the au th o r an d of h is pu bli sh ers,

T h a nk s a r e ex ten d ed fo r th e co u rtesi es i n di cated abo v e,

an d a r e also d u e th o se au th o r s who se wri ti n gs h ave been

A ck n o wledgmen t i s co r di ally mad e to Mr A rthur Det.

What sto ry do es this pi cture tell yo u ?

What ﬁrst ste

BI NDIN G PIC T UR ES I N WOR DS

Fro m the autu mn bo nﬁres

Pleasant summer o ver

A nd all th e su mmer ﬂo wers,

So meth i ng bri gh t i n all !

while yo ur teacher r ea ds the p o em .

Wh ere are Ho w d o es the

trail What ma kes ﬁr e blaze 5 Ho w do es

Wri tten Ex C op y the ver ses car ef ully T ake

ti me to wri te n eatly an d to spell ev ery wo rd co rrectly .

Vale means valley . T o to wer means to r ise high .

SOME T HI NGS T O BE T A LKE D O VER

T h o ugh ts, Words, Language

“ Wha t do yo u think d o yo u thi nk Wha t

do wh en y o u tell h er wh at yo u thi nk ? Yo u ex pr ess

Ho w a re th o u ghts ex pr essed ? I n m an y ways .

L o o k a t the p ictu r e T he Fir st S tep Why do es .

Do y o u ever ex pr ess a th o ugh t i n su ch a way ?

pi ctu r es . T he F irst Step is o ne of th em He .

p ain ted i t to sh o wth e lo v i n g ca re whi ch kin d fathers

A p o et sa w bright ﬁr es glo win g when all the

the pr etty v er ses, A u tumn Fir es Wh en y o u tell

Yo u a re stu dy in g thi s li ttle bo o k to h elp yo u in

th i nki ng and in ex pr essi ng y o ur th o ugh ts i n goo d

h elp yo u to fo r m the h abi t o f speak i ng a n d wri ti ng

Wha t h av e y o u a n d yo ur tea cher talked o v er in

T HINKIN G A ND E XPR ES SING T HO UGHT

2 . Flo wers, tr ees, bi r ds, squ ir r els, clo u d s .

3 . F ai r i es, gi an ts, py gm i es, d warf s, bro wn i es .

Do yo u care abo ut an y o f the a bo ve ? T ell abo u t

1 . A ri pe r ed apple . 4 . A pi ece o f sugar .

3 . The sch o o l bell . 6 . A su mmer d ay.

When y o u use wo rds to ex pr ess a tho u ght abo ut

an ythi n g, yo u make a sentence.

M ake sen tences abo u t

Stu dy the sto ry onp a

t h o u ght ? C o mp lete the tho ught .