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■ CONTENTS
■ 10 PARAMETRIC EQUATIONS AND POLAR COORDINATES 1
10.1 Curves Defined by Parametric Equations 1

10.2 Calculus with Parametric Curves 7
10.3 Polar Coordinates 14
10.4 Areas and Lengths in Polar Coordinates 20
10.5 Conic Sections 26
10.6 Conic Sections in Polar Coordinates 31
Review 35
Problems Plus 41
■ 11 INFINITE SEQUENCES AND SERIES 43
11.1 Sequences 43
11.2 Series 50
11.3 The Integral Test and Estimates of Sums 58
11.4 The Comparison Tests 62
11.5 Alternating Series 65
11.6 Absolute Convergence and the Ratio and Root Tests 67
11.7 Strategy for Testing Series 71
11.8 Power Series 73
11.9 Representations of Functions as Power Series 77
11.10 Taylor and Maclaurin Series 82
11.11 Applications of Taylor Polynomials 91
Review 97
Problems Plus 105
■ 12 VECTORS AND THE GEOMETRY OF SPACE 111
12.1 Three-Dimensional Coordinate Systems 111

12.2 Vectors 114
12.3 The Dot Product 119
vii
viii ■ CONTENTS
12.4 The Cross Product 123

12.5 Equations of Lines and Planes 128
12.6 Cylinders and Quadric Surfaces 135
Review 141
Problems Plus 145
■ 13 VECTOR FUNCTIONS 149
13.1 Vector Functions and Space Curves 149

13.2 Derivatives and Integrals of Vector Functions 155
13.3 Arc Length and Curvature 160
13.4 Motion in Space: Velocity and Acceleration 167
Review 173
Problems Plus 177
■ 14 PARTIAL DERIVATIVES 181
14.1 Functions of Several Variables 181

14.2 Limits and Continuity 191
14.3 Partial Derivatives 194
14.4 Tangent Planes and Linear Approximations 203
14.5 The Chain Rule 207
14.6 Directional Derivatives and the Gradient Vector 214
14.7 Maximum and Minimum Values 220
14.8 Lagrange Multipliers 230
Review 234
Problems Plus 245
■ 15 MULTIPLE INTEGRALS 249
15.1 Double Integrals over Rectangles 249

15.2 Double Integrals over General Regions 252
15.3 Double Integrals in Polar Coordinates 259
CONTENTS ■ ix
15.4 Applications of Double Integrals 263

15.5 Surface Area 269
15.6 Triple Integrals 271
15.7 Triple Integrals in Cylindrical Coordinates 278
15.8 Triple Integrals in Spherical Coordinates 282
15.9 Change of Variables in Multiple Integrals 287
Review 291
Problems Plus 297
■ 16 VECTOR CALCULUS 303
16.1 Vector Fields 303

16.2 Line Integrals 306
16.3 The Fundamental Theorem for Line Integrals 310
16.4 Green’s Theorem 313
16.5 Curl and Divergence 317
16.6 Parametric Surfaces and Their Areas 322
16.7 Surface Integrals 329
16.8 Stokes’ Theorem 334
16.9 The Divergence Theorem 337
Review 339
Problems Plus 343
■ 17 SECOND-ORDER DIFFERENTIAL EQUATIONS 345
17.1 Second-Order Linear Equations 345

17.2 Nonhomogeneous Linear Equations 347
17.3 Applications of Second-Order Differential Equations 350
17.4 Series Solutions 352
Review 355
■ APPENDIX 357
Complex Numbers 357
10 PARAMETRIC EQUATIONS AND POLAR COORDINATES
10.1 Curves Defined by Parametric Equations
1.  = 1 − 2 ,  = 2 − 2 , −1 ≤  ≤ 2
 −1 0 1 2
 0 1 0 −3
 −3 0 1 0
3.  =  + sin ,  = cos , − ≤  ≤ 
 − −2 0 2 
 − −2 + 1 0 2 + 1 
 −1 0 1 0 −1
5.  = 2 − 1,  = 12  + 1
(a)
 −4 −2 0 2 4
 −9 −5 −1 3 7
 −1 0 1 2 3
(b)  = 2 − 1 ⇒ 2 =  + 1 ⇒  = 12  + 12 , so
 
 = 12  + 1 = 12 12  + 12 + 1 = 14  + 14 + 1 ⇒  = 14  + 5
4
7.  = 2 − 3,  =  + 2, −3 ≤  ≤ 3
(a)
 −3 −1 1 3
 6 −2 −2 6
 −1 1 3 5
(b)  =  + 2 ⇒  =  − 2, so
 = 2 − 3 = ( − 2)2 − 3 =  2 − 4 + 4 − 3 ⇒
 =  2 − 4 + 1, −1 ≤  ≤ 5
2 ¤ CHAPTER 10 PARAMETRIC EQUATIONS AND POLAR COORDINATES
√
9.  = ,  = 1 − 
(a)
 0 1 2 3 4
 0 1 1414 1732 2
 1 0 −1 −2 −3
√
(b)  =  ⇒  = 2 ⇒  = 1 −  = 1 − 2 . Since  ≥ 0,  ≥ 0.
So the curve is the right half of the parabola  = 1 − 2 .
11. (a)  = sin 12 ,  = cos 12 , − ≤  ≤ . (b)
2 +  2 = sin2 21  + cos2 12  = 1. For − ≤  ≤ 0, we have
−1 ≤  ≤ 0 and 0 ≤  ≤ 1. For 0   ≤ , we have 0   ≤ 1

and 1   ≥ 0. The graph is a semicircle.
1 1
13. (a)  = sin   = csc , 0    
2
.  = csc  = = . (b)
sin  
For 0    
2
, we have 0    1 and   1. Thus, the curve is
the portion of the hyperbola  = 1 with   1.
15. (a)  = ln  ⇒  =  , so  = 2 = ( )2 = 2 . (b)
17. (a)  = sinh ,  = cosh  ⇒ 2 − 2 = cosh2  − sinh2  = 1. (b)

Since  = cosh  ≥ 1, we have the upper branch of the hyperbola
 2 − 2 = 1.
−5 −3
19.  = 5 + 2 cos ,  = 3 + 2 sin  ⇒ cos  = , sin  = . cos2 () + sin2 () = 1 ⇒
2 2
 2  2
−5 −3
+ = 1. The motion of the particle takes place on a circle centered at (5 3) with a radius 2. As  goes
2 2
 2  2
−5 −3
from 1 to 2, the particle starts at the point (3 3) and moves counterclockwise along the circle + = 1 to
2 2
(7 3) [one-half of a circle].
SECTION 10.1 CURVES DEFINED BY PARAMETRIC EQUATIONS ¤ 3
    2   2
21.  = 5 sin ,  = 2 cos  ⇒ sin  = , cos  = . sin2  + cos2  = 1 ⇒ + = 1. The motion of the
5 2 5 2
particle takes place on an ellipse centered at (0 0). As  goes from − to 5, the particle starts at the point (0 −2) and moves
clockwise around the ellipse 3 times.
23. We must have 1 ≤  ≤ 4 and 2 ≤  ≤ 3. So the graph of the curve must be contained in the rectangle [1 4] by [2 3].
25. When  = −1, ( ) = (1 1). As  increases to 0,  and  both decrease to 0.
As  increases from 0 to 1,  increases from 0 to 1 and  decreases from 0 to

−1. As  increases beyond 1,  continues to increase and  continues to
decrease. For   −1,  and  are both positive and decreasing. We could
achieve greater accuracy by estimating - and -values for selected values of 
from the given graphs and plotting the corresponding points.
27. When  = −1, ( ) = (0 1). As  increases to 0,  increases from 0 to 1 and
 decreases from 1 to 0. As  increases from 0 to 1, the curve is retraced in the

opposite direction with  decreasing from 1 to 0 and  increasing from 0 to 1.
We could achieve greater accuracy by estimating - and -values for selected
values of  from the given graphs and plotting the corresponding points.
29. Use  =  and  =  − 2 sin  with a -interval of [− ].
31. (a)  = 1 + (2 − 1 ),  = 1 + (2 − 1 ), 0 ≤  ≤ 1. Clearly the curve passes through 1 (1  1 ) when  = 0 and
through 2 (2  2 ) when  = 1. For 0    1,  is strictly between 1 and 2 and  is strictly between 1 and 2 . For
2 − 1
every value of ,  and  satisfy the relation  − 1 = ( − 1 ), which is the equation of the line through
2 − 1
1 (1  1 ) and 2 (2  2 ).
 − 1  − 1
Finally, any point ( ) on that line satisfies = ; if we call that common value , then the given
2 − 1 2 − 1
parametric equations yield the point ( ); and any ( ) on the line between 1 (1  1 ) and 2 (2  2 ) yields a value of
 in [0 1]. So the given parametric equations exactly specify the line segment from 1 (1  1 ) to 2 (2  2 ).
(b)  = −2 + [3 − (−2)] = −2 + 5 and  = 7 + (−1 − 7) = 7 − 8 for 0 ≤  ≤ 1.
33. The circle 2 + ( − 1)2 = 4 has center (0 1) and radius 2, so by Example 4 it can be represented by  = 2 cos ,
 = 1 + 2 sin , 0 ≤  ≤ 2. This representation gives us the circle with a counterclockwise orientation starting at (2 1).
(a) To get a clockwise orientation, we could change the equations to  = 2 cos ,  = 1 − 2 sin , 0 ≤  ≤ 2.
(b) To get three times around in the counterclockwise direction, we use the original equations  = 2 cos ,  = 1 + 2 sin  with
the domain expanded to 0 ≤  ≤ 6.
(c) To start at (0 3) using the original equations, we must have 1 = 0; that is, 2 cos  = 0. Hence,  = 
2
. So we use
 = 2 cos ,  = 1 + 2 sin , 
2
≤≤ 3
2
.
Alternatively, if we want  to start at 0, we could change the equations of the curve. For example, we could use
 = −2 sin ,  = 1 + 2 cos , 0 ≤  ≤ .
35. Big circle: It’s centered at (2 2) with a radius of 2, so by Example 4, parametric equations are
 = 2 + 2 cos   = 2 + 2 sin  0 ≤  ≤ 2
Small circles: They are centered at (1 3) and (3 3) with a radius of 01. By Example 4, parametric equations are
(left)  = 1 + 01 cos   = 3 + 01 sin  0 ≤  ≤ 2

and (right)  = 3 + 01 cos   = 3 + 01 sin  0 ≤  ≤ 2
Semicircle: It’s the lower half of a circle centered at (2 2) with radius 1. By Example 4, parametric equations are
 = 2 + 1 cos   = 2 + 1 sin   ≤  ≤ 2
To get all four graphs on the same screen with a typical graphing calculator, we need to change the last -interval to[0 2] in
order to match the others. We can do this by changing  to 05. This change gives us the upper half. There are several ways to
get the lower half—one is to change the “+” to a “−” in the -assignment, giving us
 = 2 + 1 cos(05)  = 2 − 1 sin(05) 0 ≤  ≤ 2
37. (a)  = 3 ⇒  = 13 , so  = 2 = 23 . (b)  = 6 ⇒  = 16 , so  = 4 = 46 = 23 .
We get the entire curve  = 23 traversed in a left to Since  = 6 ≥ 0, we only get the right half of the
right direction. curve  = 23 .
(c)  = −3 = (− )3 [so − = 13 ],
 = −2 = (− )2 = (13 )2 = 23 .

If   0, then  and  are both larger than 1. If   0, then  and 
are between 0 and 1. Since   0 and   0, the curve never quite
reaches the origin.
SECTION 10.1 CURVES DEFINED BY PARAMETRIC EQUATIONS ¤ 5
39. The case 

2     is illustrated.  has coordinates ( ) as in Example 7,
and  has coordinates (  +  cos( − )) = ( (1 − cos ))
[since cos( − ) = cos  cos  + sin  sin  = − cos ], so  has
coordinates ( −  sin( − ) (1 − cos )) = (( − sin ) (1 − cos ))
[since sin( − ) = sin  cos  − cos  sin  = sin ]. Again we have the
parametric equations  = ( − sin ),  = (1 − cos ).
41. It is apparent that  = || and  = | | = | |. From the diagram,
 = || =  cos  and  = | | =  sin . Thus, the parametric equations are
 =  cos  and  =  sin . To eliminate  we rearrange: sin  =  ⇒
sin2  = ()2 and cos  =  ⇒ cos2  = ()2 . Adding the two
equations: sin2  + cos2  = 1 = 2 2 +  2 2 . Thus, we have an ellipse.
43.  = (2 cot  2), so the -coordinate of  is  = 2 cot . Let  = (0 2).
Then ∠ is a right angle and ∠ = , so || = 2 sin  and
 = ((2 sin ) cos  (2 sin ) sin ). Thus, the -coordinate of 
is  = 2 sin2 .
45. (a) There are 2 points of intersection:
(−3 0) and approximately (−21 14).
(b) A collision point occurs when 1 = 2 and 1 = 2 for the same . So solve the equations:
3 sin  = −3 + cos  (1)
2 cos  = 1 + sin  (2)
From (2), sin  = 2 cos  − 1. Substituting into (1), we get 3(2 cos  − 1) = −3 + cos  ⇒ 5 cos  = 0 () ⇒
cos  = 0 ⇒  = 
2
or 3
2
. We check that  = 3
2
satisfies (1) and (2) but  = 
2
does not. So the only collision point
occurs when  = 3
2
, and this gives the point (−3 0). [We could check our work by graphing 1 and 2 together as
functions of  and, on another plot, 1 and 2 as functions of . If we do so, we see that the only value of  for which both
pairs of graphs intersect is  = 3

2
.]
(c) The circle is centered at (3 1) instead of (−3 1). There are still 2 intersection points: (3 0) and (21 14), but there are
no collision points, since () in part (b) becomes 5 cos  = 6 ⇒ cos  = 6

5  1.
47.  = 2   = 3 − . We use a graphing device to produce the graphs for various values of  with − ≤  ≤ . Note that all
the members of the family are symmetric about the -axis. For   0, the graph does not cross itself, but for  = 0 it has a
cusp at (0 0) and for   0 the graph crosses itself at  = , so the loop grows larger as  increases.
49.  =  +  cos   =  +  sin    0. From the first figure, we see that
curves roughly follow the line  = , and they start having loops when 
is between 14 and 16. The loops increase in size as  increases.
While not required, the following is a solution to determine the exact values for which the curve has a loop,
that is, we seek the values of  for which there exist parameter values  and  such that    and
( +  cos   +  sin ) = ( +  cos   +  sin ).
In the diagram at the left,  denotes the point ( ),  the point ( ),
and  the point ( +  cos   +  sin ) = ( +  cos   +  sin ).
Since   =   = , the triangle    is isosceles. Therefore its base

angles,  = ∠   and  = ∠   are equal. Since  =  − 
4
and
 = 2 − 3
4
−= 5
4
− , the relation  =  implies that
+= 3
2 (1).
 √
Since   = distance(( ) ( )) = 2( − )2 = 2 ( − ), we see that
1 √
 ( − ) 2 √
cos  = 2 = , so  −  = 2  cos , that is,
 
√         
 −  = 2  cos  − 4 (2). Now cos  − 4 = sin 2 −  − 4 = sin 3

4 − ,
√   0
so we can rewrite (2) as  −  = 2  sin 3 0
4 −  (2 ). Subtracting (2 ) from (1) and
√    
dividing by 2, we obtain  = 3
4
− 2
2
 sin 3
4
−  , or 3
4
−= 
√
2
sin 3
4
−  (3).
SECTION 10.2 CALCULUS WITH PARAMETRIC CURVES ¤ 7
 
Since   0 and   , it follows from (20 ) that sin 3
4 −   0. Thus from (3) we see that   4 .
3
[We have
implicitly assumed that 0     by the way we drew our diagram, but we lost no generality by doing so since replacing 
by  + 2 merely increases  and  by 2. The curve’s basic shape repeats every time we change  by 2.] Solving for  in
√  3  √
2 4 − 2 √
(3), we get  =   . Write  = 4 − . Then  =
3
, where   0. Now sin    for   0, so   2.
sin 34
−  sin 
  − √ 
As  → 0+ , that is, as  → 3 4 ,→ 2 .
51. Note that all the Lissajous figures are symmetric about the -axis. The parameters  and  simply stretch the graph in the
- and -directions respectively. For  =  =  = 1 the graph is simply a circle with radius 1. For  = 2 the graph crosses
itself at the origin and there are loops above and below the -axis. In general, the figures have  − 1 points of intersection,
all of which are on the -axis, and a total of  closed loops.
==1 =2 =3
10.2 Calculus with Parametric Curves
 √  1 1  (1 + )(1) − (1) 1
1.  = ,  = 1+ ⇒ = (1 + )−12 = √ , = = , and
1+  2 2 1 +   (1 + )2 (1 + )2
√
  1(2 1 +  ) (1 + )2 1
= = 2
= √ = (1 + )32 .
  1(1 + ) 2 1+ 2
    43 + 1
3.  = 3 + 1,  = 4 + ;  = −1. = 43 + 1, = 32 , and = = . When  = −1, ( ) = (0 0)
    32
and  = −33 = −1, so an equation of the tangent to the curve at the point corresponding to  = −1 is
 − 0 = −1( − 0), or  = −.
     cos  + sin 

5.  =  cos ,  =  sin ;  = . =  cos  + sin , = (− sin ) + cos , and = = .
    − sin  + cos 
When  = , ( ) = (− 0) and  = −(−1) = , so an equation of the tangent to the curve at the point
corresponding to  =  is  − 0 = [ − (−)], or  =  + 2 .
  1   2
7. (a)  = 1 + ln ,  = 2 + 2; (1 3). = 2 =  and = = = 22 . At (1 3),
     1

 = 1 + ln  = 1 ⇒ ln  = 0 ⇒  = 1 and = 2, so an equation of the tangent is  − 3 = 2( − 1),

or  = 2 + 1.
(b)  = 1 + ln  ⇒ ln  =  − 1 ⇒  = −1 , so  = 2 + 2 = (−1 )2 + 2 = 2−2 + 2, and  0 = 2−2 · 2.
At (1 3),  0 = 2(1)−2 · 2 = 2, so an equation of the tangent is  − 3 = 2( − 1), or  = 2 + 1.
  2 + 1
9.  = 2 − ,  = 2 +  + 1; (0 3). = = . To find the
  2 − 1
value of  corresponding to the point (0 3), solve  = 0 ⇒
2 −  = 0 ⇒ ( − 1) = 0 ⇒  = 0 or  = 1. Only  = 1 gives

 = 3. With  = 1,  = 3, and an equation of the tangent is
 − 3 = 3( − 0), or  = 3 + 3.
 
 
  2 + 1 1 2    −1(22 ) 1
11.  = 2 + 1,  = 2 +  ⇒ = = =1+ ⇒ 2
= = = − 3.
  2 2   2 4
2 
The curve is CU when  0, that is, when   0.
2
  −− + − − (1 − )

13.  =  ,  = − ⇒ = = = = −2 (1 − ) ⇒
   
 
 
 2
  −2 (−1) + (1 − )(−2−2 ) −2 (−1 − 2 + 2)
= = = = −3 (2 − 3). The curve is CU when
2   
2 
 0, that is, when   32 .
2
  1 + 1 +1

15.  =  − ln ,  =  + ln  [note that   0] ⇒ = = = ⇒
  1 − 1 −1
 
  ( − 1)(1) − ( + 1)(1)
2    ( − 1)2 −2 2 
2
= = = 3
. The curve is CU when 2  0, that is, when 0    1.
  ( − 1) ( − 1) 
 
17.  = 3 − 3,  = 2 − 3. = 2, so =0 ⇔ =0 ⇔
 
 
( ) = (0 −3). = 32 − 3 = 3( + 1)( − 1), so =0 ⇔
 
 = −1 or 1 ⇔ ( ) = (2 −2) or (−2 −2). The curve has a horizontal
tangent at (0 −3) and vertical tangents at (2 −2) and (−2 −2).
19.  = cos ,  = cos 3. The whole curve is traced out for 0 ≤  ≤ .
 
= −3 sin 3, so = 0 ⇔ sin 3 = 0 ⇔ 3 = 0, , 2, or 3 ⇔
 
   
 = 0, 3 , 2
3
, or  ⇔ ( ) = (1 1), 12  −1 , − 12  1 , or (−1 −1).
 
= − sin , so = 0 ⇔ sin  = 0 ⇔  = 0 or  ⇔
 
 
( ) = (1 1) or (−1 −1). Both and equal 0 when  = 0 and .
 
 −3 sin 3 H −9 cos 3
To find the slope when  = 0, we find lim = lim = lim = 9, which is the same slope when  = .
 →0 − sin  →0 − cos 
→0
   
Thus, the curve has horizontal tangents at 12  −1 and − 12  1 , and there are no vertical tangents.
21. From the graph, it appears that the rightmost point on the curve  =  − 6 ,  = 
is about (06 2). To find the exact coordinates, we find the value of  for which the
√
graph has a vertical tangent, that is, 0 =  = 1 − 65 ⇔  = 1 5 6.
Hence, the rightmost point is
 √  √  √
5
  −15

1 5 6 − 1 6 5 6  1 6 = 5 · 6−65  6 ≈ (058 201).
23. We graph the curve  = 4 − 23 − 22 ,  = 3 −  in the viewing rectangle [−2 11] by [−05 05]. This rectangle
corresponds approximately to  ∈ [−1 08].
We estimate that the curve has horizontal tangents at about (−1 −04) and (−017 039) and vertical tangents at
  32 − 1
about (0 0) and (−019 037). We calculate = = 3 . The horizontal tangents occur when
  4 − 62 − 4
 = 32 − 1 = 0 ⇔  = ± √13 , so both horizontal tangents are shown in our graph. The vertical tangents occur when
 = 2(22 − 3 − 2) = 0 ⇔ 2(2 + 1)( − 2) = 0 ⇔  = 0, − 12 or 2. It seems that we have missed one vertical
tangent, and indeed if we plot the curve on the -interval [−12 22] we see that there is another vertical tangent at (−8 6).
25.  = cos ,  = sin  cos .  = − sin ,
 = − sin2  + cos2  = cos 2. ( ) = (0 0) ⇔ cos  = 0 ⇔  is

an odd multiple of 2 . When  = 2,

 = −1 and  = −1, so  = 1.
When  = 3
2
,  = 1 and  = −1. So  = −1. Thus,  =  and
 = − are both tangent to the curve at (0 0).
27.  =  −  sin ,  =  −  cos .
    sin 
(a) =  −  cos , =  sin , so = .
    −  cos 
(b) If 0    , then | cos | ≤   , so  −  cos  ≥  −   0. This shows that  never vanishes,
so the trochoid can have no vertical tangent if   .
  32  1  1
29.  = 32 + 1,  = 3 − 1 ⇒ = = = . The tangent line has slope when = ⇔  = 1, so the
  6 2 2 2 2
point is (4 0).
31. By symmetry of the ellipse about the - and -axes,

 0  2  2
=4 0
  = 4 2
 sin  (− sin )  = 4 0
sin2   = 4 0
1
2
(1 − cos 2) 
 1
2  
= 2  − 2 sin 2 0
= 2 2 = 
33. The curve  = 3 + 1,  = 2 − 2 = (2 − ) intersects the -axis when  = 0, that

is, when  = 0 and  = 2. The corresponding values of  are 1 and 9. The shaded area
is given by
 =9  =2  2
( −  )  = [() − 0] 0 ()  = (2 − 2 )(32 ) 
=1 =0 0
2  2  
=3 0
(23 − 4 )  = 3 12 4 − 15 5 = 3 8 − 32
5
= 24
5
0
35.  =  −  sin ,  =  −  cos .

 2  2  2
= 0
( −  cos )( −  cos )  = 0 (2 − 2 cos  + 2 cos2 ) 
  = 0
  2
= 2  − 2 sin  + 12 2  + 12 sin 2 0 = 22 + 2
37.  =  + − ,  =  − − , 0 ≤  ≤ 2.  = 1 − − and  = 1 + − , so
()2 + ()2 = (1 − − )2 + (1 + − )2 = 1 − 2− + −2 + 1 + 2− + −2 = 2 + 2−2 .

 2√
Thus,  =  ()2 + ()2  = 0 2 + 2−2  ≈ 31416.
39.  =  − 2 sin ,  = 1 − 2 cos , 0 ≤  ≤ 4.  = 1 − 2 cos  and  = 2 sin , so
()2 + ()2 = (1 − 2 cos )2 + (2 sin )2 = 1 − 4 cos  + 4 cos2  + 4 sin2  = 5 − 4 cos .
  4 √
Thus,  =  ()2 + ()2  = 0 5 − 4 cos   ≈ 267298.
41.  = 1 + 32 ,  = 4 + 23 , 0 ≤  ≤ 1.  = 6 and  = 62 , so ()2 + ()2 = 362 + 364 .
    
1 1 2 √ 1 
Thus,  = 362 + 364  = 6 1 + 2  = 6  2  [ = 1 + 2 ,  = 2 ]
0 0 1
 2  √ 
= 3 23 32 = 2(232 − 1) = 2 2 2 − 1
1
 
43.  =  sin ,  =  cos , 0 ≤  ≤ 1. =  cos  + sin  and = − sin  + cos , so
 
 2  2
 
+ = 2 cos2  + 2 sin  cos  + sin2  + 2 sin2  − 2 sin  cos  + cos2 
 
= 2 (cos2  + sin2 ) + sin2  + cos2  = 2 + 1.
1√ 21  √  √ 1 √  √ 
Thus,  = 0
2 + 1  = 12  2 + 1 + 1
2
ln  + 2 + 1 0 = 12 2 + 1
2
ln 1 + 2 .
45.  =  cos ,  =  sin , 0 ≤  ≤ .

  2   2

+  = [ (cos  − sin )]2 + [ (sin  + cos )]2
= ( )2 (cos2  − 2 cos  sin  + sin2 )
+ ( )2 (sin2  + 2 sin  cos  + cos2 
= 2 (2 cos2  + 2 sin2 ) = 22

√ √ √   √
Thus,  = 0
22  = 0 2   = 2  0 = 2 ( − 1).
47. The figure shows the curve  = sin  + sin 15,  = cos  for 0 ≤  ≤ 4.
 = cos  + 15 cos 15 and  = − sin , so
()2 + ()2 = cos2  + 3 cos  cos 15 + 225 cos2 15 + sin2 .
 4 √
Thus,  = 0 1 + 3 cos  cos 15 + 225 cos2 15  ≈ 167102.
49.  =  −  ,  =  +  , −6 ≤  ≤ 6.
  2   2 6 √

+ 
= (1 −  )2 + (1 +  )2 = (1 − 2 + 2 ) + (1 + 2 + 2 ) = 2 + 22 , so  = −6
2 + 22 .
√ 6−(−6)
Set  () = 2 + 22 . Then by Simpson’s Rule with  = 6 and ∆ = 6
= 2, we get
 ≈ 23 [ (−6) + 4 (−4) + 2 (−2) + 4 (0) + 2 (2) + 4 (4) +  (6)] ≈ 6123053.
51.  = sin2 ,  = cos2 , 0 ≤  ≤ 3.
()2 + ()2 = (2 sin  cos )2 + (−2 cos  sin )2 = 8 sin2  cos2  = 2 sin2 2 ⇒
 3 √ √  2 √  2 √ √
Distance = 0
2 |sin 2|  = 6 2 0 sin 2  [by symmetry] = −3 2 cos 2 = −3 2 (−1 − 1) = 6 2.
0
The full curve is traversed as  goes from 0 to 

2
, because the curve is the segment of  +  = 1 that lies in the first quadrant
 2 √
(since ,  ≥ 0), and this segment is completely traversed as  goes from 0 to 2.

Thus,  = 0
sin 2  = 2, as above.
53.  =  sin ,  =  cos , 0 ≤  ≤ 2.

  2   2

= ( cos )2 + (− sin )2 = 2 cos2  + 2 sin2  = 2 (1 − sin2 ) + 2 sin2 
+ 
 
2
= 2 − (2 − 2 ) sin2  = 2 − 2 sin2  = 2 1 − 2 sin2  = 2 (1 − 2 sin2 )

 2     2

So  = 4 0 2 1 − 2 sin2   [by symmetry] = 4 0 1 − 2 sin2  .
55. (a)  = 11 cos  − 4 cos(112),  = 11 sin  − 4 sin(112).
Notice that 0 ≤  ≤ 2 does not give the complete curve because
(0) 6= (2). In fact, we must take  ∈ [0 4] in order to obtain the
complete curve, since the first term in each of the parametric equations has
period 2 and the second has period 2

112 = 11 ,
4
and the least common
integer multiple of these two numbers is 4.
(b) We use the CAS to find the derivatives  and , and then use Theorem 5 to find the arc length. Recent versions
 4   √ 
of Maple express the integral 0 ()2 + ()2  as 88 2 2  , where () is the elliptic integral
 1√
1 − 2 2 √
√  and  is the imaginary number −1.
1 −  2
0
Some earlier versions of Maple (as well as Mathematica) cannot do the integral exactly, so we use the command
evalf(Int(sqrt(diff(x,t)ˆ2+diff(y,t)ˆ2),t=0..4*Pi)); to estimate the length, and find that the arc
length is approximately 29403. Derive’s Para_arc_length function in the utility file Int_apps simplifies the
 4     
integral to 11 0 −4 cos  cos 11
2
− 4 sin  sin 11
2
+ 5 .
57.  =  sin ,  =  cos , 0 ≤  ≤ 2.  =  cos  + sin  and  = − sin  + cos , so
()2 + ()2 = 2 cos2  + 2 sin  cos  + sin2  + 2 sin2  − 2 sin  cos  + cos2 
= 2 (cos2  + sin2 ) + sin2  + cos2  = 2 + 1
  2 √
= 2  = 0
2 cos  2 + 1  ≈ 47394.
59.  =  +  ,  = − , 0 ≤  ≤ 1.
 = 1 +  and  = −− , so ()2 + ()2 = (1 +  )2 + (−− )2 = 1 + 2 + 2 + −2 .
 1 √
= 2  = 0
2− 1 + 2 + 2 + −2  ≈ 106705.
  2   2  2
61.  = 3 ,  = 2 , 0 ≤  ≤ 1. 
+ 
= 32 + (2)2 = 94 + 42 .
      
1
 2
  2 1 1
= 2 
+ 
 = 22 94 + 42  = 2 2 2 (92 + 4) 
0 0 0
     
13
−4 √ 1  2 2
 = 9 + 4,  = ( − 4)9, 2 13
= 2  18  = (32 − 412 ) 
9  = 18 , so   = 18
1
 9 · 18
4 4
 13  13
2 52
= 
81 5
 − 83 32 = 
81
· 2
15
352 − 2032
4 4
 √ √    √ 
= 2
1215
3 · 132 13 − 20 · 13 13 − (3 · 32 − 20 · 8) = 2
1215
247 13 + 64
  2   2
63.  =  cos3 ,  =  sin3 , 0 ≤  ≤ 
2
. 
+ 
= (−3 cos2  sin )2 + (3 sin2  cos )2 = 92 sin2  cos2 .
 2  2  2
= 0
2 ·  sin3  · 3 sin  cos   = 62 0
sin4  cos   = 65 2 sin5  0 = 65 2
  2   2
65.  = 32 ,  = 23 , 0 ≤  ≤ 5 ⇒  +  = (6)2 + (62 )2 = 362 (1 + 2 ) ⇒
5  5 √ 5 √
= 0
()2 + ()2  = 0 2(32 )6 1 + 2  = 18 0 2 1 + 2 2 
2
   26
 26 √  = 1 + 2   26
= 18 1 ( − 1)   = 18 1 (32 − 12 )  = 18 25 52 − 23 32
 = 2  1
 2 √ 2
√     √ 
= 18 5 · 676 26 − 3 · 26 26 − 25 − 23 = 24
5  949 26 + 1
67. If  0 is continuous and  0 () 6= 0 for  ≤  ≤ , then either  0 ()  0 for all  in [ ] or  0 ()  0 for all  in [ ]. Thus, 
is monotonic (in fact, strictly increasing or strictly decreasing) on [ ]. It follows that  has an inverse. Set  =  ◦  −1 ,
that is, define  by  () = ( −1 ()). Then  = () ⇒  −1 () = , so  = () = ( −1 ()) =  ().
      
    1     ̇
69. (a)  = tan−1 = tan−1 ⇒ = . But = = ⇒
   1 + ()2     ̇
     
   ̇ ̈ ̇ − ̈̇  1 ̈ ̇ − ̈̇ ̇̈ − ̈̇
= = ⇒ = = 2 . Using the Chain Rule, and the
   ̇ ̇2  1 + (̇̇)2 ̇2 ̇ + ̇2
   
  2   2  2
  2  12
fact that  = 
+ 
 ⇒ 

= 
+ 
= ̇2 + ̇2 , we have that
0
     
  ̇̈ − ̈̇ 1 ̇̈ − ̈̇     ̇̈ − ̈̇  |̇̈ − ̈̇|
. So  = 

=

=
̇2 + ̇2 (̇2 + ̇ 2 )12
=
(̇2 + ̇ 2 )32
 =     (̇2 + ̇2 )32  = (̇2 + ̇2 )32 .
 2 
(b)  =  and  =  () ⇒ ̇ = 1, ̈ = 0 and ̇ = , ̈ = .
 2
   2 
1 · (2 2 ) − 0 · ()  2 
So  = = .
[1 + ()2 ]32 [1 + ()2 ]32
71.  =  − sin  ⇒ ̇ = 1 − cos  ⇒ ̈ = sin , and  = 1 − cos  ⇒ ̇ = sin  ⇒ ̈ = cos . Therefore,

   
cos  − cos2  − sin2  cos  − (cos2  + sin2 ) |cos  − 1|
= = = . The top of the arch is
[(1 − cos )2 + sin2 ]32 (1 − 2 cos  + cos2  + sin2 )32 (2 − 2 cos )32
characterized by a horizontal tangent, and from Example 2(b) in Section 10.2, the tangent is horizontal when  = (2 − 1),
|cos  − 1| |−1 − 1| 1
so take  = 1 and substitute  =  into the expression for :  = = = .
(2 − 2 cos )32 [2 − 2(−1)]32 4
73. The coordinates of  are ( cos   sin ). Since   was unwound from
arc  ,   has length . Also ∠   = ∠   − ∠  = 12  − ,

 
so  has coordinates  =  cos  +  cos 12  −  = (cos  +  sin ),
 
 =  sin  −  sin 12  −  = (sin  −  cos ).
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The Project Gutenberg eBook of Children's books and
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Title: Children's books and reading
Author: Montrose Jonas Moses
Release date: October 1, 2023 [eBook #71774]
Language: English
Original publication: New York: Mitchell Kennerley, 1907
Credits: Aaron Adrignola, Terry Jeffress and the Online

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*** START OF THE PROJECT GUTENBERG EBOOK CHILDREN'S

BOOKS AND READING ***
CHILDREN’S BOOKS
AND READING
BY MONTROSE J. MOSES
FAMOUS ACTOR FAMILIES IN AMERICA
LITERATURE OF THE SOUTH In preparation
EDITED BY MR. MOSES

EVERYMAN A Morality Play
Children’s Books and Reading
By
MONTROSE J. MOSES
NEW YORK
MITCHELL KENNERLEY
Copyright, 1907, by Mitchell Kennerley
TABLE OF CONTENTS
Introductory Note v
I. The Problem 1
II. The Rise of Children’s Books 19
I. Horn-books; Chap-books; New England Primer 20
II. La Fontaine and Perrault 34
III. Mother Goose 40
IV. John Newbery; Oliver Goldsmith; Isaiah Thomas 46
III. The Old-fashioned Library 61
I. The Rousseau Impetus 61
II. The Edgeworths; Thomas Day; Mrs. Barbauld and Dr.
Aikin 76
III. The Sunday-school: Raikes; Hannah More; Mrs. Trimmer 101
IV. The Poets: Watts; Jane and Ann Taylor; William Blake 119
V. Charles and Mary Lamb; the Godwins 130
IV. Concerning Now and Then 143
I. The English Side 143
English Table
II. The American Side 150
American Table
III. The Present Situation 162
V. The Library and the Book 166
I. Children’s Books: Their Classification; their
Characteristics 167
II. The Library, the School, the Home—a Plea for Culture 180
III. Book-lists and Book-selecting 189
IV. The Experimental Temptation 195
VI. Appendix 200
I. Book-lists Published by Libraries 200
II. A List of Selected Books for Children 208
III. Bibliographical Note 269
INTRODUCTORY NOTE
In the course of preparing the material for the following sketch, I was
brought into very agreeable relations with many persons whose practical
experience in library work proved of exceptional value to me. I wish to take
this means of thanking Miss Annie Carroll Moore, Supervisor of Children’s
Rooms in the New York Public Library, and Mr. C. G. Leland, Supervisor
of School Libraries and member of the New York Board of Education, for
every encouragement and assistance.
To Miss Caroline M. Hewins of the Hartford Public Library, Miss
Frances Jenkins Olcott of the Pittsburgh Carnegie Library, Miss Caroline
Burnite of the Cleveland Public Library, the Reverend Joseph McMahon, a
member of the Advisory Board of the New York Public Library, Mr.
Frederic W. Erb of the Columbia University Library, and to Mr. Tudor
Jenks, I am indebted for general advice.
In special lines, I had the privilege of consultation with Mr. Frank
Damrosch, Mr. C. Whitney Coombs, and Miss Kate Cohen for music; Miss
Emilie Michel for French; and Miss Hedwig Hotopf for German.
The librarians of Columbia University, the Pratt Institute, and the Astor
Library have rendered me marked service for which I am grateful.
I wish to thank the New York Outlook, Independent, and Evening Post
for affording me opportunities to publish from time to time data relating to
juvenile books and reading.
Finally, I wish to fix the responsibility for whatever statements are made
in the way of criticism upon myself; this is only due to those whose
extensive knowledge of the subject is being exerted in a professional
capacity; and to those many authors whose books and papers are indicated
in the bibliographical notes.
M. J. M.
New York, August, 1907.
CHILDREN’S BOOKS AND READING
I. THE PROBLEM
Any good book, any book that is wiser than yourself, will teach
you some things.—Carlyle, to an unknown correspondent, March
13, 1843.
Therfore I pray that no man Reprehende

This lytyl Book, the whiche for you I make;
But where defaute ys, latte ylke man amende,
And nouhte deme yt; [I] pray thaym for youre sake.
—The Babees Book.
The field of children’s books is by no means an uninterrupted host of
dancing daffodils; it is not yellow with imperishable gold. In fact, there is a
deplorable preponderance of the sere and yellow leaf. Yet there is no fairer
opportunity for the writer than that which offers itself in the voluntary spirit
of a boy or girl reader. Here are to be met no crotchets or fads, no
prejudices or unthinkable canons of art. Because the body is surcharged
with surplus energy necessary to growth, because the mind is throwing out
delicate tendrils that foreshadow its potential future, one realises how vital
is the problem of children’s reading, how significant the manner in which it
is being handled.
At the outset, it is essential for us to distinguish between theory, history,
and practice. The field, with all its rich soil, is in need of weeding. Not so
very long ago, it lay unrecognised by the library, as of sufficient importance
for separate and specialised consideration. But now, with the prominence
being given to children’s reading-rooms, the field needs to be furrowed. Let
us not ignore the salubrious under-stratum of the past; it has served its
mission in asserting the claims of childhood; it has both negatively and
positively marked the individuality of childhood, in a distinctive juvenile
literature. Perhaps the writers who were inspired by the Rousseau doctrine
of education, and those who abetted the Sunday-school movement of the
last century, were deceived in their attitude; for they considered the
machinery by which they hoped to mould character, rather than the nature
of the heart and soul upon which they were actually working. A right
action, a large, human, melodramatic deed, are more healthy for boys and
girls than all the reasons that could be given for them. In literature for
children, as in life, the moral habit should be unquestioning. All leading
educators and ethical teachers recognise this fact.
The whole matter simply resolves itself into a difference in viewpoint
between the past and present. Smile as we must over the self-conscious
piousness of early juvenile literature, it contained a great deal of sincerity; it
did its pioneer work excellently well. To the writer of children’s books, to
the home, where one essential duty is personal guidance, to the librarian
whose work is not the science of numbers, but a profession of culture-
distributing, some knowledge of the past harvests from this field would
appear indispensable. For the forgotten tales of long ago, the old-fashioned
stories represent something more than stained pages and crude woodcuts,
than stilted manners and seeming priggishness; they stand for the personal
effort and service of men and women striving with staunch purpose in the
interests of childhood, however mistaken their estimates of this childhood
may have been. These books, to the library, are so much fallow material as
a practical circulating proposition, but they represent forces significant in
the history of children’s books. I would much rather see a librarian fully
equipped with a knowledge of Miss Edgeworth’s life, of her human
associations, together with the inclinations prompting her to write “The
Parent’s Assistant,” than have her read a whole list of moral tales of the
same purport and tone.
The immediate problem, therefore, necessitates a glance at this field of
children’s literature, and some knowledge of its essential details. It involves
a contact with books of all grades; it calls into play, with the increasing
number of libraries, and with the yearly addition of children’s rooms, a keen
discerning judgment on the part of the librarian, not only as to child nature,
but as to the best methods of elimination, by which bad books may be
separated from good, and by which the best may preponderate. But the
librarian is not the only factor; the parent and the writer also come into
account. They, too, must share a responsibility which will be more fully
determined later on, but which now means that they both owe the child an
indispensable duty; the one in giving to the growing boy or girl most
intelligent guidance along the path of fullest development; the other in
satisfying this need—not in deflecting juvenile taste by means of endless
mediocrity and mild sentimentalism. It is an unfortunate circumstance that
the effects of mediocrity are longer-lived than the immediate evil itself.
In the problem of children’s reading we must consider two aspects; there
is the bogey image of a theoretical or sociological or educational child, and
also the book as a circulating commodity. There is the machinery of “The
Child”; Dr. Isaac Watts shaped one; Jean Jacques Rousseau another; the
Edgeworths still another, and now the psychologist’s framework of
childhood, more subtle, more scientific, more interesting, threatens us
everywhere. But no patent has so far supplanted the fundamental excellence
of human nature. There are assuredly demarkations and successive steps in
elementary education, but are not these becoming too specialised? Since we
are dealing with the Boy and the Story rather than with the Scholar and the
Text-book, with culture which is personal, and not with expediency, we
needs must choose the human model in preference to all others.
And so it is with the choice of the librarian. In dealing with books in the
bulk, there is a tendency to emphasise system above the humanising
excellence of what the books contain. After all the mechanical detail is
done, when the cover has been labelled, when the catalogue notation has
been figured, when the class distribution has been determined, the librarian
stands middleman in a threefold capacity. She is a purveyor, in the sense
that she passes a book over the counter; she is a custodian, in so far as
books need protection; she is the high priestess, since the library is a temple
of treasures, a storehouse for our literary heritage. In any library, whether it
be yours at home, with your own books upon the shelves, or the public’s,
with volumes representing so much of your taxation on which you base
your citizenship, the rare companionship of books is one of their
humanising qualities. This is as much a truth for children as for grown-ups.
With the fear that there is an effort on the part of many to crystallise
reading into a science, comes the necessity to foster a love of reading for its
own sake. The democracy of books has grown larger with the cheapening
process of manufacture; while the establishment of public libraries offers to
every one an equal privilege. In an assemblage of many books, a certain
spiritual dignity should attach itself to the utilitarian fact.
There is no definition for children’s books; the essential point is appeal,
interest. As far back as 1844, a writer in the Quarterly Review very aptly
claimed that “a genuine child’s book is as little like a book for grown
people cut down, as the child himself is like a little old man.” Peculiarly,
there is a popular misconception that an author of juveniles advances in art
only when he or she leaves off penning stories or fairy tales, and begins
publishing novels. On the face of it, this is absurd. Like any other gift,
writing for children cannot be taught; it has to be born. If possible, with the
exception of drama, it is the most difficult art to master, since its narrative
will not stand imitation, since its simplicity must represent naturalness and
not effort, since its meaning must be within reach, and without the tone of
condescension.
Professor Richard Burton has written: “A piece of literature is an
organism, and should, therefore, be put before the scholar, no matter how
young, with its head on, and standing on both feet.” This injunction applies
to all books. Where the classics excel is in their very fulness and honesty of
narrative. Can the same be said of our “series” brand?
The writing of children’s books is more aptly phrased the writing of
books for children. There was a time when such books, as a class by
themselves, were unknown; yet boys and girls expanded, and perhaps
remembered more of what they read than they do to-day, although they
were not taught as much. There are some pessimists, not so unwise in their
pessimism, who believe that if less emphasis was bestowed upon the word
children, and more upon the word literature, the situation would be
materially bettered.
Can we recall any of our great men—literary, scientific, or otherwise—
who were brought up on distinctively juvenile literature. A present-day boy
who would read what Lamb or Wordsworth, Coleridge or Tennyson,
Gladstone or Huxley devoured with gusto in their youth, would set the
psychologists in a flutter, would become an object for head-lines in our
papers. There is a mistaken conception regarding what are children’s books,
in the best sense of the word. A standard which might have excellent
conservative results, although it would be thoroughly one-sided and liable
to false interpretation, could be based on the assertion that those books only
are children’s classics which can be relished by a grown-up public. “Alice
in Wonderland,” “The Water Babies,” “Peter Pan”—such stories have a
universal appeal. And it is well to remember that at least five of the world’s
classics, not originally written for children, have been appropriated by
them: “The Arabian Nights”; “Pilgrim’s Progress”; “Robinson Crusoe”;
“Gulliver’s Travels”; “Baron Münchausen.”
With the reading democracy created by public libraries, there has
developed the need for this special kind of writing. Excesses have
unfortunately arisen such as made a critic once exclaim in disgust,
“Froissart is cut into spoon-meat, and Josephus put into swaddling clothes.”
While we shall, in the following pages, find many odd theories and
statements regarding simplification of style, it is as well to be forearmed
against this species of writing. Democracy in literature is falsely associated
with mediocrity. When one reads the vitiating “series” class of story-book,
the colourless college record, the diluted historical narrative, there is cause
for despair. But there is no need for such cheapening. The wrong impression
is being created in the popular mind that literature is synonymous with
dulness; that only current fiction is worth while. And we find children
confessing that they rarely read non-fiction, a term they only dimly
comprehend. It is not right that a middle-class population should have
relegated to it a middle-class literature. Such, however, at the present
moment, seems to be the situation. And as a consequence all departments
suffer. Except for a very few volumes, there is no biography for children
that is worthy of endorsement, for the simple reason that the dignity of a
whole life, its meaning and growth, are subordinated to the accentuation of
a single incident. History becomes a handmaiden to the slender story. Let
those writers who are looking for an unworked vein ponder this. The
fictionising of all things is one of the causes for this poverty; the text-book
habit another.
The poet Blake sings:
“Thou hast a lap full of seed,
And this is a fine country.
Why dost thou not cast thy seed,
And live in it merrily?”
But, though we are repeatedly casting our seed in the field of juvenile
literature, we are not reaping the full harvest, because we are not living in
the land of childhood merrily.
Start as you will to treat of children’s books as the mere vehicle for
giving joy, and education will pursue you. Acknowledging all the benefits
that the moral tale and the instructive walk have bestowed, we know not
which to pity most—the child in a moral strait-jacket, or the child observing
nature! The terms we use in describing these writers of a past generation are
always the same; they are not prepossessing, though they may sound quaint.
We turn from such critical phrases as “flabby treatment of the Bible,” “dear,
didactic, deadly dull” Mrs. Barbauld, Miss Edgeworth’s “overplus of
sublime purpose,” to definite terms of protest such as those of the
“Professor at the Breakfast Table,” condemning the little meek sufferers
with their spiritual exercises, and those of Emerson ending in his cry of
“What right have you to one virtue!” The mistaken attitude, which has
slipped from the moral to the educational sphere, seems to be that self-
development is not just as important as prescribed courses. While the latter
are necessary to the school, the librarian must reckon differently; for, to her,
the child is not so much a class as a unit.
Elementary education is marked by the compulsory factor; in reading, a
child’s interest is voluntary. On the other hand, the severity of a Puritan
Sunday, the grimness of a New England Primer, developed in childhood
sound principles of righteousness; they erected a high fence between
heaven and hell. But the moral tale utilised “little meannesses of
conventional life,” suggested sly deceit and trivial pettiness; it quibbled and
its ethics were often doubtful. The reaction that followed let slip a valuable
adjunct in culture; to-day the knowledge of the Bible in schools and
colleges is appallingly shallow; this fact was revealed in the results of an
examination or test held by President Thwing some years ago. Dr. Felix
Adler, pleading from the non-sectarian platform, asks for the re-
establishment of ethics in our schools as a study of social relations, and for
the extended use of Bible stories, shorn of religious meaning, yet robbed of
none of their essential strength or beauty or truth. The librarian has wisely
mapped out for her story hour such a course, gleaned from the parables, and
from the vast treasure houses of narrative abounding in both Testaments and
in fables.
Turn to your colleges and your schools, and you will find that, generally
speaking, there is dug a deep channel between literature and life, which has
no right to be. We should study our ethics as one of the inherent elements in
poetry and in prose. The moral habit is part of the structure of the Arthurian
legends.
Since the time of Rousseau the emancipation of the child has steadily
advanced; in society, he has taken his place. No longer is it incumbent upon
him to be seen and not heard, no longer are his answers written out for him
to memorise. Mr. E. V. Lucas, in the preface to his “Forgotten Tales of Long
Ago,” calls attention to one story, “Ellen and George; or, The Game at
Cricket,” culled from “Tales for Ellen,” by Alicia Catherine Mant, and in a
characteristically droll manner he says, “Ellen’s very sensible question (as it
really was) on p. 184, ‘Then why don’t you send the cat away?’ is one of
the first examples of independent—almost revolutionary—thought in a
child, recorded by a writer for children in the early days.”
But the chains that have fallen from one door have been threatening to
shackle another. Where once children could scarcely escape the moral, their
imaginations now have no room for flight. Fancy is bestrided by fact. We
must give reasons for everything. When Artemus Ward was asked why the
summer flowers fade, he exclaimed, “Because it’s their biz, let ’em fade.”
In nature study for children the general effect leaves a deeper impression
than the technical structure. We do not know whether it is necessary to have
Mr. Seton’s “Story of Wahb” vouched for as to accuracy in every detail.
The scientific naturalists and story-writers are constantly wrangling, but
there is not so much harm done to nature after all. An author who wilfully
perverts fact, who states as true for the class what he knows to be a variant
in the one coming under his observation, should be called to account.
Otherwise a human interest attached to animals creates a wide appeal. But
to use this vehicle for exploiting the commonplace, and what properly
belongs to the text-book, should be condemned by the librarian. Mr. Tudor
Jenks[1] humorously declares: “We ask our little ones to weep over the
tribulations of a destitute cock-roach or a bankrupt tumble-bug.” And
another critic of an earlier age writes of those same children—“They are
delighted, it is true, with the romantic story of ‘Peter, the wild boy,’ but they
have not the slightest curiosity to know the natural history, or Linnæan
nomenclature of the pig-nuts he ate.”
The following pages have been written after some extensive
investigation. Within the past few years, about fifteen hundred of the latest
books for children have come to my desk; they have not been without
meaning for the present, or without connection with the past. While it has
not been the intention to write a full history of children’s books, some idea
is given of the extent and possibilities of the field; the historical
development is sketched in outline. There is need for a comprehensive
volume. In addition, an attempt is here made to reconcile system with
culture; to discover what the library is aiming to do with juvenile readers in
the community; to show the relation which the Library, the School, and the
Home, bear, one to the other, and all to the child. Having carefully
examined lists of books recommended by libraries for children of all ages
and grades, a limited number of volumes, marked by an excellence which
makes them worthy of preservation, is recommended as suitable for boys
and girls. These titles are given in an appendix. The fault with most lists of
this character is that they too often represent the choice of one person. To
counteract this one-sidedness, the co-operation of an advisory board was
obtained, marked by wide experience, by an intimate contact with and
knowledge of the books considered, and by a desire to show a human
respect for the tastes of children.
There are certain phases in the consideration of the departments that have
been suggested by young readers themselves. The desire for books about
musicians, and for piano and violin scores, brought to light the lack of any
guaranteed assemblage of songs which, in variety, in quality, in sentiment
and imagination, might be called distinctive. The interest in a certain type
of drawing as shown by the juvenile demand for Boutet de Monvel, Kate
Greenaway, and Caldecott picture-books, suggested the advisability of
including a full list of these publications.[2] One cannot approach the subject
with any ironclad rules, yet it is always profitable to heed experiments
based on common sense. The results of such experiments are but mileposts
in the general advance; they must not be taken as final. Yet it is well to
experiment in order to avoid crystallisation.
Children are entitled to their full heritage; education is paramount,
culture is the saving grace. Your memory of a child is the healthy glow of
the unfettered spirit. None of us want him with a book in his hand all the
time. We wish him to take the freshness of life as his nature, to run with hair
tossing to the wind. But glance into his eyes and you will find a craving
look that a ball will not satisfy, a far-away expression that no shout from the
roadside will change. It is the placid gleam of sunset after physical storm,
the moment of rest after the overflow of animal energy. Children have their
hero moments when they are not of the present, but are part of that
perennial truth which is clearer-visioned in the past, since we have to dream
of it. Kate Douglas Wiggin claims that the book is a fact to a child. It should
be an idealising fact.
Not long ago a crazy man died, after having drawn up a will: his world’s
goods consisted of the wide, wide world; his legatees were every living
soul. He said:

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■ 10 PARAMETRIC EQUATIONS AND POLAR COORDINATES 1

10.1 Curves Defined by Parametric Equations 1

■ 11 INFINITE SEQUENCES AND SERIES 43

Problems Plus 105

■ 12 VECTORS AND THE GEOMETRY OF SPACE 111

12.1 Three-Dimensional Coordinate Systems 111

12.4 The Cross Product 123

Problems Plus 145

■ 13 VECTOR FUNCTIONS 149

13.1 Vector Functions and Space Curves 149

Problems Plus 177

■ 14 PARTIAL DERIVATIVES 181

14.1 Functions of Several Variables 181

Problems Plus 245

■ 15 MULTIPLE INTEGRALS 249

15.1 Double Integrals over Rectangles 249

15.4 Applications of Double Integrals 263

Problems Plus 297

■ 16 VECTOR CALCULUS 303

16.1 Vector Fields 303

Problems Plus 343

■ 17 SECOND-ORDER DIFFERENTIAL EQUATIONS 345

17.1 Second-Order Linear Equations 345

Complex Numbers 357

10.1 Curves Defined by Parametric Equations

11. (a)  = sin 12 ,  = cos 12 , − ≤  ≤ . (b)

2 +  2 = sin2 21  + cos2 12  = 1. For − ≤  ≤ 0, we have

−1 ≤  ≤ 0 and 0 ≤  ≤ 1. For 0   ≤ , we have 0   ≤ 1

15. (a)  = ln  ⇒  =  , so  = 2 = ( )2 = 2 . (b)

17. (a)  = sinh ,  = cosh  ⇒ 2 − 2 = cosh2  − sinh2  = 1. (b)

(7 3) [one-half of a circle].

clockwise around the ellipse 3 times.

As  increases from 0 to 1,  increases from 0 to 1 and  decreases from 0 to

 decreases from 1 to 0. As  increases from 0 to 1, the curve is retraced in the

29. Use  =  and  =  − 2 sin  with a -interval of [− ].

(b)  = −2 + [3 − (−2)] = −2 + 5 and  = 7 + (−1 − 7) = 7 − 8 for 0 ≤  ≤ 1.

(left)  = 1 + 01 cos   = 3 + 01 sin  0 ≤  ≤ 2

37. (a)  = 3 ⇒  = 13 , so  = 2 = 23 . (b)  = 6 ⇒  = 16 , so  = 4 = 46 = 23 .

(c)  = −3 = (− )3 [so − = 13 ],

 = −2 = (− )2 = (13 )2 = 23 .

39. The case 

 =  cos  and  =  sin . To eliminate  we rearrange: sin  =  ⇒

equations: sin2  + cos2  = 1 = 2 2 +  2 2 . Thus, we have an ellipse.

45. (a) There are 2 points of intersection:

(−3 0) and approximately (−21 14).

3 sin  = −3 + cos  (1)

2 cos  = 1 + sin  (2)

pairs of graphs intersect is  = 3

no collision points, since () in part (b) becomes 5 cos  = 6 ⇒ cos  = 6

49.  =  +  cos   =  +  sin    0. From the ﬁrst ﬁgure, we see that

( +  cos   +  sin ) = ( +  cos   +  sin ).

Since   =   = , the triangle    is isosceles. Therefore its base

==1 =2 =3

10.2 Calculus with Parametric Curves