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 BRIEF CONTENTS

Chapter 1 Achievement Assessment and Instruction 1

Chapter 2 Nature of Student Assessment 17
Chapter 3 Planning for Assessment 31
Chapter 4 Validity and Reliability 47
Chapter 5 Preparing and Using Achievement Tests 70
Chapter 6 Writing Selection Items: Multiple Choice 91
Chapter 7 Writing Selection Items: True-False, Matching, and
Interpretive Exercise 110
Chapter 8 Writing Supply Items: Short Answer and Essay 127
Chapter 9 Performance Assessments 143
Chapter 10 Assessment in Distance Education 174
Chapter 11 Grading and Reporting 192
Chapter 12 Interpreting Standardized Achievement Test Scores 206
Chapter 13 Using Assessment in Action Research 223

Appendix A Revised Edition of Bloom’s Taxonomy of Educational

Objectives 247
Appendix B Self-Assessment Answer Key 253
Glossary 257
Index 263

vii
This page intentionally left blank
 CONTENTS

Chapter 1 ACHIEVEMENT ASSESSMENT AND

INSTRUCTION 1
Relationship Between Instruction and Assessment 3
Assessment in the Instructional Process 4
Other Ways Assessments Can Aid Learning 9
Historical and Legislative Influences on Student
Assessment 11
Teachers’ Standards for Student Assessment 12
Summary of Points 14
References and Additional Reading 14
Self-Assessment 15

Chapter 2 NATURE OF STUDENT ASSESSMENT 17

Major Types of Assessment Methods 18
Guidelines for Effective Student Assessment 21
Norm-Referenced and Criterion-Referenced Assessment 26
Summary of Points 28
References and Additional Reading 29
Self-Assessment 29

Chapter 3 PLANNING FOR ASSESSMENT 31

Using Taxonomies as a Guide 32
Role of Instructional Objectives 35
Preparing for Assessment 39
Types of Assessment Procedures 40
Validity and Reliability in Assessment Planning 41
Summary of Points 44
References and Additional Reading 45
Self-Assessment 45

Chapter 4 VALIDITY AND RELIABILITY 47

Validity 48
Reliability 59
Summary of Points 67
References and Additional Reading 68
Self-Assessment 68 ix
x Contents

Chapter 5 PREPARING AND USING ACHIEVEMENT

TESTS 70
Specifying the Instructional Objectives 71
Preparing the Test Specifications 73
Considerations in Constructing Relevant Test Items 76
General Guidelines for Item Writing 81
Arranging the Items in the Test 82
Preparing Clear Directions 83
Administering and Scoring the Test 84
Analyzing the Effectiveness of Test Items 85
Summary of Points 88
References and Additional Reading 89
Self-Assessment 89

Chapter 6 WRITING SELECTION ITEMS: MULTIPLE

CHOICE 91
Nature of Multiple-Choice Items 91
Rules for Writing Multiple-Choice Items 93
Summary of Points 107
References and Additional Reading 108
Self-Assessment 108

Chapter 7 WRITING SELECTION ITEMS: TRUE-FALSE,

MATCHING, AND INTERPRETIVE EXERCISE 110
True-False Items 110
Matching Items 116
The Interpretive Exercise 119
Summary of Points 124
References and Additional Reading 125
Self-Assessment 125

Chapter 8 WRITING SUPPLY ITEMS: SHORT ANSWER

AND ESSAY 127
Short-Answer Items 128
Essay Questions 131
Summary of Points 140
References and Additional Reading 141
Self-Assessment 141
 Contents xi

Chapter 9 PERFORMANCE ASSESSMENTS 143

Components of Performance Skills 144
Stating Objectives for Performance Assessment 145
Restricted and Extended Performance Tasks 146
Steps in Preparing Performance Assessments 147
Making Performance Assessments More Authentic 165
Preparing for Performance Assessments 165
Diagnostic Performance Assessments 170
Summary of Points 170
References and Additional Reading 172
Self-Assessment 172

Chapter 10 ASSESSMENT IN DISTANCE EDUCATION 174

Asynchronous Versus Synchronous Online Assessment 175
Types of Online Assessments 176
Ways to Identify or Reduce Cheating in Online
Assessment 186
Summary of Points 188
References and Additional Reading 189
Self-Assessment 190

Chapter 11 GRADING AND REPORTING 192

Selecting the Basis for Grading 193
Combining Data for Grading 197
Electronic Grading 200
Guidelines for Effective and Fair Grading 200
Reporting to Students and Parents 202
Summary of Points 203
References and Additional Reading 204
Self-Assessment 204

Chapter 12 INTERPRETING STANDARDIZED ACHIEVEMENT

TEST SCORES 206
Features of Standardized Achievement Tests 207
Interpreting Norm-Referenced Scores 207
Criterion-Referenced Interpretation 219
Summary of Points 219
References and Additional Reading 221
Self-Assessment 221
xii Contents

Chapter 13 USING ASSESSMENT IN ACTION RESEARCH 223

Characteristics of Action Research 224
Process for Conducting Action Research 227
Guidelines for Conducting Action Research 242
Summary of Points 242
References and Additional Reading 243
Self-Assessment 244

Appendix A Revised Edition of Bloom’s Taxonomy of Educational

Objectives 247
Appendix B Self-Assessment Answer Key 253
Glossary 257
Index 263
 Tenth Edition

ASSESSMENT OF STUDENT
ACHIEVEMENT
This page intentionally left blank
 1 ACHIEVEMENT
ASSESSMENT
AND INSTRUCTION

Studying this chapter should enable you to1

1. Explain why both testing and performance assessment are important in

achievement assessment.
2. Write a definition of achievement assessment.
3. Describe the relationship between instruction and assessment.
4. Distinguish among the various roles of assessment in the instructional
process.
5. List the ways that assessments can directly aid learning.
6. Describe the historical events and legislation that have influenced
assessment.

All of us have taken various types of paper-and-pencil tests during our many
years of schooling. Some of these were teacher-made tests requiring us to select
an answer (e.g., true-false, multiple choice, or matching) or to supply an an-
swer (e.g., short answer or essay). Others were standardized tests of aptitude
or achievement, primarily using multiple-choice items. The widespread use of
paper-and-pencil testing in the schools was due, at least in part, to the efficien-
cy with which they could measure a large number of learning outcomes and the
ease of scoring and recording the results.
In recent years there has been a reaction to the heavy emphasis on
paper-and-pencil testing. Some critics have contended that there should be
more emphasis on the assessment of authentic, “real-life” tasks (e.g., solv-
ing problems that exist in the real world). Others have contended that
paper-and-pencil testing should be replaced, at least in part, by alternative
types of assessment (e.g., oral presentations, demonstrations, portfolios). Some
reactions have been extreme but they highlight the importance of focusing

1
Space does not permit using the preferred two-step method of stating intended learning outcomes
described in Chapter 3. These statements, however, should provide a focus for your study and for
application of the content in each chapter.

1
2 Chapter 1 • Achievement Assessment and Instruction

BOX 1.1 Commonly Used Assessment Terms

Performance Assessments Assessments requiring students to demonstrate their
achievement of understandings and skills by actually
performing a task or set of tasks (e.g., writing a story,
giving a speech, conducting an experiment, operating a
machine).
Alternative Assessments A title for performance assessments that emphasizes that
these assessment methods provide an alternative to tradi-
tional paper-and-pencil testing.
Authentic Assessments A title for performance assessments that stresses the
importance of focusing on the application of understand-
ings and skills to real problems in “real-world” contextual
settings.

more attention on the actual performance of students (see Box 1.1). If you want
to determine whether students can write, have them write something. If you
want to determine whether students can operate a machine, have them operate
the machine. If you want to determine whether students can conduct an experi-
ment, have them conduct an experiment. In short, if you want to determine
whether they can perform a task, have them perform the task. There is little
doubt that more emphasis on performance assessment in the schools would
improve the assessment of our intended learning outcomes. However, paper-
and-pencil testing still has an important role to play, even as we focus more
directly on performance-based tasks.
Most types of performance have a knowledge component that is impor-
tant to the performance. Good writing includes such factors as knowledge of
vocabulary, grammar, and spelling. These are not well sampled by a writing
task because we tend to use only the words we know, use sentence structures
that we can punctuate easily, and substitute words we can spell for those we
can’t spell. Thus, in writing, we can structure it to conceal our weaknesses. A
separate test of vocabulary, grammar, and spelling can identify these weak-
nesses and be used to improve writing skill. Just don’t interpret the test results
as measures of “writing ability.” The tests measure knowledge useful in writing
but writing ability is determined by assessing the actual writing (performance
assessment). Similarly, in operating machinery, the actual operation of the
machine is the ultimate goal, but tests measuring knowledge of how to oper-
ate the machine and the safety precautions to follow may be needed before
the hands-on performance assessment. Likewise, before conducting an experi-
ment, tests can be used to determine how well students know the information
needed for a well-controlled experiment.
Throughout this book, the emphasis will be on achievement assessment
that includes both paper-and-pencil testing and performance assessment. Tests
can provide direct measures of many important learning outcomes, ranging
from simple to complex, and they can provide needed information for assessing
 Chapter 1 • Achievement Assessment and Instruction 3

and improving actual performance tasks. Thus, although we should strive for
as authentic assessment as we can obtain, within the constraints of the school
setting, both tests and performance-based tasks are needed for a complete as-
sessment of student achievement.
As used in this book, achievement assessment is a broad category that
includes all of the various methods for determining the extent to which students
are achieving the intended learning outcomes of instruction. Because we are
limiting our concern to achievement assessment, the single term assessment is
used throughout the book as a matter of convenience.

RELATIONSHIP BETWEEN INSTRUCTION AND ASSESSMENT

In preparing for any type of instructional program, our main concern is “How
can we most effectively bring about student learning?” As we ponder this ques-
tion, our attention is naturally directed toward the methods and materials of
instruction. However, at the same time we should also consider the role of
assessment in the instructional process. When properly designed and appropri-
ately used, assessment procedures can contribute to more effective instruction
and greater student learning.
The close relationship between instruction and assessment can be seen
in Table 1.1. Both require that we clearly specify the learning outcomes to
be achieved by students, and the provisions of well-designed assessments
closely parallel the characteristics of effective instruction. This relationship

TABLE 1.1 Relationship Between Instruction and Assessment

Instruction Assessment

Instruction is most effective when Assessment is most effective when

1. Directed toward a clearly defined
set of intended learning outcomes.
2. The methods and materials of
instruction are congruent with the
outcomes to be achieved.
3. The instruction is designed to fit
the characteristics and needs of the
students.
4. Instructional decisions are based
on information that is meaningful,
dependable, and relevant.
5. Students are periodically informed
concerning their learning progress.
6. Remediation is provided for students
not achieving the intended learning.
7. Instructional effectiveness is
periodically reviewed and the
intended learning outcomes and
instruction modified as needed.
1. Designed to assess a clearly defined set
of intended learning outcomes.
2. The nature and function of the
assessments are congruent with the
outcomes to be assessed.
3. The assessments are designed to fit the
relevant student characteristics and are
fair to everyone.
4. Assessments provide information that
is meaningful, dependable, and relevant.
5. Provision is made for giving the students
early feedback of assessment results.
6. Specific learning weaknesses are revealed
by the assessment results.
7. Assessment results provide information
useful for evaluating the appropriateness
of the objectives, the methods, and the
materials of instruction.
4 Chapter 1 • Achievement Assessment and Instruction

highlights the importance of broadening instructional planning to include

assessment planning. The typical procedure of limiting instructional planning
to the teaching–learning process is inadequate. Effective instruction requires
that we expand our concern to a teaching–learning–assessment process, with
assessment as a basic part of the instructional program. As with all instructional
activities, the main function of assessment is to improve learning, and it can
contribute to this end in a number of ways.

ASSESSMENT IN THE INSTRUCTIONAL PROCESS

To be fully integrated with instruction, plans for assessment should be made
during the planning for instruction. From the beginning of instruction to the end
there are numerous decisions that teachers need to make. Carefully planned
assessment procedures can improve the effectiveness of many of these deci-
sions by providing more objective information on which to base judgments. Let
us consider some of the decisions teachers need to make (1) during the plan-
ning of instruction, (2) at the beginning of instruction, (3) during instruction,
and (4) at the end of instruction.

Planning of Instruction
Before the construction of a building begins, considerable thought and work
go into developing a blueprint that provides direction and defines what the
building should look like once completed. This blueprint serves as a guide
and ensures quality during construction. Before constructing a course (lecture
materials, student activities, lesson plans, etc.), teachers need to have a blue-
print that defines what the students should look like once they have completed
the course. Teachers need to answer the following two questions:
1. What are the intended learning outcomes of instruction?
2. How will we know whether students have achieved the learning outcomes?
Within the public education system, the answers to these questions
are provided by the school’s respective state through established content
standards. Content standards describe what students should know and be
able to do at the end of a specified period of learning (e.g., a grade or
series of grades). They provide a framework for curriculum development,
instruction, and the assessment of student achievement. Various profes-
sional organizations have also developed sets of content standards in their
particular subject areas. It is hoped that the use of such standards will raise
achievement expectations, increase the quality of public education, provide
a better informed citizenship, and make the country more competitive with
other countries.
Content standards consist of statements that specify in a general way what
students should learn. Each standard is then followed by a number of bench-
marks that clarify what students know or can do when they have achieved the
content standards. The following standard and benchmarks illustrate a possible
standard for the early elementary level.
 Chapter 1 • Achievement Assessment and Instruction 5

Understands the methods of measurement.

1. Knows the tools and units used in our daily measurements.
2. Knows the relationship of units for each measurement tool.
3. Applies the measurement tools and units in solving measurement
problems.
Many of the standards use such terms as knows, understands, and ap-
plies, as shown in this illustration. Thus, content standards are typically not at
the level of instructional objectives and, therefore, do not describe how the
student will demonstrate achievement of the learning outcomes. In preparing
relevant objectives, we need to clarify in specific terms what is meant by knows
(e.g., identifies, describes), understands (e.g., explains, gives examples), and
applies (e.g., computes, converts). The following list of instructional objectives
might be used to put our sample standard into usable form for instruction and
assessment.
1. Understands the methods of measurement.
1.1 Identifies the tools and units used in measuring distance, time, weight,
temperature, and volume.
1.2 Describes the relationship of units for each measurement tool (e.g.,
inches, feet, yards).
1.3 Converts from one unit to another for a given measurement (e.g.,
inches to feet).
1.4 Measures an amount in a given situation (e.g., length of a line).
1.5 States examples of the use of each measurement tool in daily life.
1.6 Solves measurement problems using the appropriate tools and units.

When the standards are converted to instructional objectives, they pro-

vide guidelines (a blueprint) for planning instructional activities and preparing
assessment instruments. For instance, given objective 1.1 above, the teacher
would be guided to include activities and assessment items that require students
to identify from a list the correct tools and units used in measuring distance,
time, weight, temperature, and volume. See Gronlund and Brookhart (2009) for
how to write instructional objectives for teaching and assessment.

Beginning of Instruction (Placement Assessment)

There are two major questions that teachers need to answer before proceeding
with the instruction:
1. To what extent do the students possess the skills and abilities that are
needed to begin instruction?
2. To what extent have the students already achieved the intended learning
outcomes of the planned instruction?
Information concerning the first question is frequently obtained from
readiness pretests. These are tests given at the beginning of a course or unit
of instruction that cover those prerequisite skills necessary for success in the
6 Chapter 1 • Achievement Assessment and Instruction

planned instruction. For example, a test of computational skill might be given at

the beginning of an algebra course, or a test of English grammar might be given
at the beginning of a German course. Students lacking in prerequisite skills
could be given remedial work, or they could be placed in a special section that
had lower prerequisites.
The second question is frequently answered by a placement pretest cover-
ing the intended learning outcomes of the planned instruction. This might very
well be the same test that is given at the end of the instruction; preferably it
should be another form of it. Here we are interested in determining whether
students have already mastered some of the material we plan to include in our
instruction. If they have, we might need to modify our teaching plans, encour-
age some students to skip particular units, and place other students at a more
advanced level of instruction. The function of placement assessment is summa-
rized in Figure 1.1.
In addition to the use of pretests, performance-based tasks may also be
useful for determining entry skills. In the area of writing, for example, obtaining
writing samples at the beginning of instruction can establish a base for later as-
sessments of progress. This type of preassessment would be especially valuable
if portfolios of student work were to be maintained during the instruction.
The contribution that preassessment can make to instruction depends
on the nature of the instruction, how well we know students, and how the
results are to be used. A pretest in arithmetic may be quite useful at the
beginning of an algebra course, whereas a pretest in a course that lacks a
clearly defined set of prerequisite skills (e.g., social studies) may be of little
value. Similarly, the results of a test of basic skills may be of great value to a
new teacher unfamiliar with the students and of less value to an experienced
teacher familiar with the students’ backgrounds. In addition, preassessment

PLACEMENT ASSESSMENT
(to determine entry performance)

READINESS CONCERN PLACEMENT CONCERN

Do the students Have the students
have the pre- already achieved the
requisite skills? intended outcomes?

No Yes No Yes

Provide readiness Proceed with the Advance students to

experiences. planned instruction. a higher level.

FIGURE 1.1 Simplified Model for the Instructional Role of Placement Assessment.
 Chapter 1 • Achievement Assessment and Instruction 7

will contribute little to the instructional program unless plans are made to
remedy deficiencies, place students in the most beneficial position in the in-
structional sequence, or use the results as a base for assessing future progress.
To be most effective, the use of preassessment should be considered during
the instructional planning stage.

During Instruction (Formative and Diagnostic Assessment)

During the instructional program our main concern is with the students’ learn-
ing progress. Questions such as the following must be answered:
1. On which learning tasks are the students progressing satisfactorily? On
which ones do they need help?
2. Which students are having such severe learning problems that they need
remedial work?
Tests used to monitor student progress during instruction are called for-
mative tests. Formative tests are typically designed to measure the extent to
which students have mastered the learning outcomes of a rather limited seg-
ment of instruction, such as a unit or a textbook chapter. These tests are similar
to the quizzes and unit tests that teachers have traditionally used, but they place
greater emphasis on (1) measuring all of the intended outcomes of the unit of
instruction and (2) using the results to improve learning (rather than to assign
grades). The purpose is to identify the students’ learning successes and failures
so that adjustments in instruction and learning can be made. When the major-
ity of students fail a test item, or set of items, the material is typically retaught
in a group setting. When a minority of students experience learning failures,
alternate methods of study are usually prescribed for each student (e.g., reading
assignments in a second book, computer instruction, and visual aids). These
corrective prescriptions are frequently keyed to each item or to each set of
items designed to measure a separate learning task, so that students can begin
immediately after testing to correct their individual learning errors.
Formative assessment using performance-based tasks may involve periodic
assessments of a product (e.g., writing sample, drawing) or of a process (e.g.,
giving a speech, operating a machine) with feedback to students concerning
strengths and weaknesses. The aim here, as with formative testing, is to monitor
learning progress and to provide corrective prescriptions to improve learning.
When a student’s learning problems are so persistent that they cannot be
resolved by the corrective prescriptions of formative assessment, a more intensive
study of the student’s learning difficulties is called for. It is here that diagnostic
assessment is useful. Diagnostic assessment attempts to answer such questions as
the following: Are the students having difficulty in addition because they don’t
know certain number combinations or because they don’t know how to carry?
Are the students’ difficulties in reading German due to their inadequate knowl-
edge of vocabulary or to their poor grasp of certain elements of grammar? Are the
students unable to apply scientific principles to new situations because they don’t
understand the principles, because their knowledge of particular concepts is
weak, or because the new situations are too unfamiliar to them? Thus, diagnostic
8 Chapter 1 • Achievement Assessment and Instruction

assessment focuses on the common sources of error encountered by students, so

that the learning difficulties can be pinpointed and remedied.
Diagnostic assessment can frequently be aided by the use of diagnostic
tests. These tests typically include a relatively large number of test items in each
specific area with slight variations from one set of items to the next so that the
cause of specific learning errors can be identified. In detecting errors in the addi-
tion of whole numbers, for example, we might construct a test that includes a set
of items requiring no carrying, a set that requires simple carrying, and one that
requires repeated carrying to determine whether carrying is the source of the dif-
ficulty. Unfortunately, diagnostic tests are difficult to construct in most areas of in-
struction. Therefore, we must depend more heavily on observation and judgment.
Diagnosing learning problems is a matter of degree. Formative assessment
determines whether a student has mastered the learning tasks being taught and,
if not, prescribes how to remedy the learning failures. Diagnostic assessment
is designed to probe deeper into the causes of learning deficiencies that are
left unresolved by formative assessment. Of course, this is not to imply that all
learning problems can be overcome by formative and diagnostic assessment.
These are simply methods to aid in the identification and diagnosis of specific
learning difficulties so that appropriate remedial steps can be taken. Diagnosing
and remedying severe learning problems frequently require a wide array of
assessment procedures and the services of specially trained personnel. All we
are attempting to do here is to show how formative and diagnostic assessment
can contribute to improved student learning during instruction. The model pre-
sented in Figure 1.2 summarizes the process.

FORMATIVE ASSESSMENT
(to monitor learning progress)

Are the students achieving

the intended learning outcomes?

No Yes

Provide group or Provide feedback to

individual remediation. reinforce learning.

DIAGNOSTIC ASSESSMENT Proceed with the

(to study persistent difficulties) planned instruction.

FIGURE 1.2 Simplified Model for the Instructional Role of Formative Assessment.
 Chapter 1 • Achievement Assessment and Instruction 9

SUMMATIVE ASSESSMENT
(to determine terminal performance)

Have the students achieved

the intended outcomes of instruction?

No Yes

Provide additional Assign grades or

learning experiences. certify mastery.

Evaluate the effectiveness

of the instruction.

FIGURE 1.3 Simplified Model for the Instructional Role of Summative Assessment.

End of Instruction (Summative Assessment)

At the end of a course or unit of instruction we are concerned primarily with
the extent to which the students have achieved the intended outcomes of the
instruction. Questions such as the following must be answered:
1. Which students have mastered the learning tasks to such a degree that
they should proceed to the next course or unit of instruction?
2. What grade should be assigned to each student?
Achievement assessment at the end of instruction for the purpose of
certifying mastery or assigning grades is called summative assessment. This
assessment is typically comprehensive in coverage and includes both tests and
performance assessments. Although the results are used primarily for grading,
there should be some feedback to students and the results should be used for
evaluating the effectiveness of the instruction. See Figure 1.3 for the summative
assessment model.

OTHER WAYS ASSESSMENTS CAN AID LEARNING

As noted in the previous section, assessments can aid the teacher in making
various instructional decisions having a direct influence on student learning. In
addition, assessments can aid student learning in a number of other ways.
10 Chapter 1 • Achievement Assessment and Instruction

Student Motivation
A carefully planned assessment program can have a direct influence on student
learning by (1) providing students with short-term goals, (2) clarifying the types
of tasks to be learned, and (3) providing feedback concerning their learning
progress. Short-term goals are more motivating than telling students “Some day
you will find this knowledge or skill useful.” An expected assessment stimulates
learning activity and directs it toward the learning tasks to be assessed. Its con-
tribution to learning depends to a large extent on how faithfully our assessments
reflect all of the important outcomes of the instruction and how we use the re-
sults. For example, if the application of principles is stressed in our assessment
as well as in our teaching, we can expect students to direct greater efforts toward
learning how to apply principles. Also, if the assessment results are reported to
students as soon as possible, this feedback concerning their strengths and weak-
nesses in the application of principles will further clarify the nature of the task
and indicate what changes are needed for effective performance. Thus, properly
used assessments can motivate students to work toward the instructional objec-
tives of a course by arousing greater learning activity, by directing it toward the
intended learning outcomes, and by providing prompt knowledge of results.

Retention and Transfer of Learning

Because assessments tend to direct students’ learning efforts toward the intended
outcomes of instruction, they can be used as tools for increasing the retention
and transfer of learning. In general, learning outcomes at the understanding,
application, and interpretation levels are likely to be retained longer and to
have greater transfer value than outcomes at the recall level. By including as-
sessments of these more complex learning outcomes, we can direct attention to
their importance and provide reinforcing practice in the skills, applications, and
interpretations we are attempting to develop. Thus, assessments can be used
to supplement and complement our teaching efforts in these areas and thereby
increase the likelihood that the learning will be of greater permanent value to
the students.

Student Self-Assessment
All instruction should be directed toward helping individuals better understand
themselves so that they can make more intelligent decisions. Periodic assess-
ment and feedback of the results can help students gain insight into what they
can do well, the misconceptions that need correction, and the degree of skill
they have in various areas. Such information provides the students with a more
objective basis for assessing their own strengths and weaknesses. Properly used
assessments tend to provide evidence of learning progress in such an objective
and impartial way that the results can be accepted with little resistance or dis-
tortion. This assumes, of course, that the assessments are properly prepared and
are being used to improve learning rather than to threaten or label students. In
the latter instance, self-assessment is apt to be distorted by the psychological
defense mechanisms an individual uses to maintain a positive self-image.
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Samuel Johnson.
 APPENDICES
He reads much. He is a great observer, and he looks quite
through the deeds of men.
Shakespeare.

In order to give the reader of this narrative on The Little Country

Theater an insight into the hidden possibilities for the development of
a life in both town and country, a life with more color and romance, a
select list of reading materials is given. Aside from the program
material sources, a careful reading of such books as The Holy Earth,
by Liberty Bailey; Three Acres and Liberty, by Bolton Hall; The
Fairview Idea, by Herbert Quick; The Village, by Ernest Poole; The
Farmer and The New Day, by Kenyon Butterfield, and scores of
other books cannot help but broaden one’s outlook upon life. A
reading taste could easily be developed in this and other countries if
every community, regardless of its size, would place a book shelf
containing interesting literature in the country store, village post
office, community hall, school house, or somebody’s home. A few
dollars, say fifteen or twenty-five would be a sufficient fund to begin
the reading circle. The school master, especially the county
superintendent, would soon see a changed attitude and a renewed
interest in education. The grown-ups, the folks whose school days
are no more, as well as the school children would, if a library
bookshelf was placed in every hamlet, be given an opportunity to
spend at least a part of their leisure time, with pleasure and profit.
Good books are good friends. Reading one is like visiting somebody
you haven’t seen in a long while. The author dedicates the several
pages left to those who want to read that they may know.
 APPENDIX A
Select list of suitable reference material—General References,
Country Life, Suggested Lists of Plays, Presentation of Plays,
Promotion of Plays.

GENERAL REFERENCES

Ancient Art and Ritual—Jane Ellen Harrison. Publisher, Henry Holt

and Company, New York City, New York.
Book of Days, The—R. Chambers. Publisher, W. and R. Chambers,
London, England.
Dramas and Dramatic Dances—William Ridgeway. Publisher,
Cambridge University Press, London, England.
Drama of Savage People, The—Loomis Havemeyer. Publisher, Yale
University Press, New Haven, Connecticut.
Fine Arts, The—G. Baldwin Brown. Publisher, Charles Scribner’s
Sons, New York City, New York.
Golden Bough, The—J. G. Frazer. Publisher, The Macmillan
Company, New York City, New York.
Play of Man, The—Karl Groos. Publisher, D. Appleton and Company,
New York City, New York.
Amateur and Educational Dramatics—Evelyne Hillard, Theodora
McCormick, Kate Oglebay. Publisher, The Macmillan Company,
New York City, New York.
Art Theater, The—Sheldon Cheney. Publisher, Alfred A. Knopf, New
York City, New York.
Book of Marionettes, A—Helen Haiman Joseph. Publisher, B. W.
Huebsch, New York City, New York.
Chief Contemporary Dramatists—Thomas Dickinson. Publisher,
Houghton Mifflin Company, New York City, New York.
Civic Theater, The—Percy Mackaye. Publisher, Mitchell Kennerley,
New York City, New York.
Community Theater, The—Louise Burleigh. Publisher, Little, Brown
and Company, Boston, Massachusetts.
Drama, The—Alfred Bates. Publisher, The Athenian Society,
London, England.
Drama League Series of Plays, The—Publisher, Doubleday, Page
and Company, New York City, New York.
History of the Theater in America, A—Arthur Hornblow. Publisher, J.
B. Lippincott Company, Philadelphia, Pennsylvania.
Insurgent Theater, The—Thomas Dickinson. Publisher, B. W.
Huebsch, New York City, New York.
Life and Art of Edwin Booth—William Winter. Publisher, The
Macmillan Company, New York City, New York.
Life and Art of Joseph Jefferson—William Winter. Publisher, The
Macmillan Company, New York City, New York.
Masterpieces of Modern Drama, The—John Alexander Pierce and
Brander Matthews. Publisher, Doubleday, Page and Company,
New York City, New York.
Mediaeval Stage, The—E. K. Chambers. Publisher, A. C. McClurg
and Company, Chicago, Illinois.
Neighborhood Entertainments—Renee B. Stern. Publisher, Sturgis
and Walton Company, New York City, New York.
Our American Holidays—Robert Haven Schauffler, Publisher, Moffat,
Yard and Company, New York City, New York.
Plays and Players—Walter Prichard Eaton. Publisher, Stewart and
Kidd Company, Cincinnati, Ohio.
Studies in Stage Craft—Clayton Hamilton. Publisher, Henry Holt and
Company, New York City, New York.
Ten Thousand Words Often Mispronounced—William H. Phyfe.
Publisher, Putnam Sons, New York City, New York.
Theaters and Picture Houses—Arthur S. Meloy. Publisher, Architects
Supply and Publishing Company, New York City, New York.
Theater Through Its Stage Door—David Belasco. Publisher, Harper
and Brothers, New York City, New York.
Training for the Stage—Arthur Hornblow. Publisher, J. B. Lippincott
Company, Philadelphia, Pennsylvania.

COUNTRY LIFE

Adult Recreation as a Social Problem—Edward Alsworth Ross.

Source, The American Journal of Sociology, January, Nineteen
Eighteen. Publisher, The University of Chicago Press, Chicago,
Illinois.
American Country Girl, The—Martha Foote Crow. Publisher,
Frederick A. Stokes Company, New York City, New York.
Chapters in Rural Progress—Kenyon L. Butterfield. Publisher, The
University of Chicago Press, Chicago, Illinois.
Constructive Rural Sociology—John M. Gillette. Publisher, Sturgis
and Walton Company, New York City, New York.
Country Life Movement in the United States, The—L. H. Bailey.
Publisher, The Macmillan Company, New York City, New York.
Country Town, The—Wilbert L. Anderson. Publisher, The Baker and
Taylor Company, New York City, New York.
Educational Needs of Farm Women—United States Department of
Agriculture, Report No. 105. Publisher, Government Printing
Office, Washington, D. C.
Fairview Idea, The—Herbert Quick. Publisher, The Bobbs-Merrill
Company, Indianapolis, Indiana.
Farm Boys and Girls—William A. McKeever. Publisher, The
Macmillan Company, New York City, New York.
Farmer and the New Day, The—Kenyon L. Butterfield. Publisher,
The Macmillan Company, New York City, New York.
Holy Earth, The—L. H. Bailey. Publisher, Charles Scribner’s Sons,
New York City, New York.
Introduction to Rural Sociology—Paul Vogt. Publisher, D. Appleton
and Company, New York City, New York.
Little Town, The—Harlan Paul Douglas. Publisher, The Macmillan
Company, New York City, New York.
Our European Neighbors—Twelve volumes edited by William
Harbutt Dawson. Publisher, G. P. Putnam’s Sons, New York City,
New York.
Outlines of Economics—Richard T. Ely. Publisher, The Macmillan
Company, New York City, New York.
Plans of Rural Community Buildings—W. C. Nason. Source,
Farmers Bulletin 1173. Publisher, United States Department of
Agriculture, Washington, D. C.
Proceedings—First, Second, and Third National Country Life
Conferences. Publisher, National Country Life Association,
Amherst, Massachusetts, c/o Kenyon L. Butterfield.
Psychic Causes of Rural Migration—Ernest R. Groves. Source, The
American Journal of Sociology, March, Nineteen Sixteen.
Publisher, The University of Chicago, Chicago, Illinois.
Rural Improvement—Frank Waugh. Publisher, Orange, Judd
Company, New York City, New York.
Rural Life Problem of the United States, The—Sir Horace Plunkett.
Publisher, The Macmillan Company, New York City, New York.
Rural Planning and Colonization—Ben Faast. Publisher, Wisconsin
Colonization Company, Eau Claire, Wisconsin.
Rural Versus Urban—John W. Bookwalter. Publisher, The
Knickerbocker Press, New York City, New York.
Six Thousand Country Churches—Charles Otis Gill and Gifford
Pinchot. Publisher, The Macmillan Company, New York City,
New York.
Social Anatomy of a Rural Community, The—Charles J. Galpin.
Source, Wisconsin Research Bulletin, Number 34. Publisher,
University of Wisconsin, Madison, Wisconsin.
State and the Farmer, The—L. H. Bailey. Publisher, The Macmillan
Company, New York City, New York.
Three Acres and Liberty—Bolton Hall. Publisher, The Macmillan
Company, New York City, New York.
Village, The—Ernest Poole. Publisher, The Macmillan Company,
New York City, New York.

SUGGESTED LIST OF PLAYS—ONE ACT

Afternoon Rehearsal, An—Lizzie M. Knapp. Characters, Six Female.

Publisher, Walter H. Baker, Boston, Massachusetts.
American Beauties—A. Seaman. Characters, Six Female. Publisher,
Walter H. Baker, Boston, Massachusetts.
Aunt Minerva—Catherine Tudor. Characters, Five Female. Publisher,
Samuel French, New York City, New York.
Bank Account, The—Howard Brock. Characters, One Male, Two
Female. Publisher, Brentano, New York City, New York.
Barbara—Jerome K. Jerome. Characters, Two Male, Two Female.
Publisher, Samuel French, New York City, New York.
Belles of Canterbury, The—Characters, Eleven Female. Publisher,
Samuel French, New York City, New York.
Between the Soup and the Savory—Gertrude Jennings. Characters,
Three Female. Publisher, Samuel French, New York City, New
York.
Bishop’s Candlesticks—Norman McKinnel. Characters, Three Male,
Two Female. Publisher, Samuel French, New York City, New
York.
Bracelet, The—Alfred Sutro. Characters, Four Male, Four Female.
Publisher, Samuel French, New York City, New York.
Brown Paper Parcel, A—M. J. W. Characters, Two Female.
Publisher, Samuel French, New York City, New York.
Business Meeting, A—Arlo Bates. Characters, Ten Female.
Publisher, Walter H. Baker, Boston, Massachusetts.
Christening Robe, The—Anne L. Estebrook. Characters, Twelve
Female. Publisher, Walter H. Baker, Boston, Massachusetts.
Christmas Chime, A—Margaret Cameron. Characters, Two Male,
Two Female. Publisher, Samuel French, New York City, New
York.
Christmas Tale, A—Maurice Boucher. Characters, Two Male, Two
Female. Publisher, Samuel French, New York City, New York.
Clod, The—Lewis Beach. Characters, Four Male, One Female.
Publisher, Doubleday, Page and Company, New York City, New
York.
Cooks and Cardinals—Norman C. Lindon. Characters, Four Male,
Two Female. Publisher, Harvard Plays, 47 Workshop,
Brentano’s, New York City, New York.
Courtship of Miles Standish—Eugene W. Presbrey. Characters, Two
Male, Two Female. Publisher, Samuel French, New York City,
New York.
Cut Off with a Shilling—S. T. Smith. Characters, Two Male, One
Female. Publisher, Dramatic Publishing Company, Chicago,
Illinois.
Dancing Dolls—Kenneth Sawyer Goodman. Characters, Four Male,
Seven Female. Publisher, The Stage Guild, Chicago, Illinois.
Day That Lincoln Died, The—Prescott Warren and Will Hutchins.
Characters, Five Male, Two Female. Publisher, Walter H. Baker,
Boston, Massachusetts.
Deacon’s Hat, The—Jeanette Marks. Characters, Three Male, Three
Female. Publisher, Three Welsh Plays, Little, Brown and
Company, Boston, Massachusetts.
Dear Departed, The—Stanley Houghton. Characters, Three Male,
Three Female. Publisher, Five One Act Plays, Samuel French,
New York City, New York.
Dinner at Seven Sharp—Tudor Jenks. Characters, Five Male, Three
Female. Publisher, Walter H. Baker, Boston, Massachusetts.
Dress Rehearsal of Hamlet—Mary Macmillan. Characters, Ten
Female. Publisher, Stewart and Kidd, Cincinnati, Ohio.
Embers—George Middleton. Characters, Two Male, Two Female.
Publisher, Henry Holt and Company, New York City, New York.
Far Away Princess, The—Herman Sudermann. Characters, Two
Male, Seven Female. Publisher, Roses, Charles Scribner’s
Sons, New York City, New York.
Fatal Message, The—John Kendrick Bangs. Characters, Five Male,
Four Female. Publisher, Harper and Brothers, New York City,
New York.
First Come, First Served—John Maddison Morton. Characters,
Three Male, Three Female. Publisher, Dramatic Publishing
Company, Chicago, Illinois.
Florist Shop, The—Winifred Hawkridge. Characters, Three Male,
Two Female. Publisher, In Harvard Plays, Brentano’s, New York
City, New York.
Futurists—Mary Macmillan. Characters, Eight Women. Publisher,
Stewart and Kidd, Cincinnati, Ohio.
Gettysburg—Percy MacKaye. Characters, One Male, One Female.
Publisher, Duffield and Company, New York City, New York.
Ghost of Jerry Bundler, The—W. W. Jacobs and Charles Rock.
Characters, Seven Male. Publisher, Samuel French, New York
City, New York.
Girls, The—Mabel H. Crane. Characters, Nine Female. Publisher,
Samuel French, New York City, New York.
Green Coat, The—Alfred De Musset and Emile Augier. Characters,
Three Male, One Female. Publisher, Samuel French, New York
 City, New York.
Holly Tree Inn—O. Berringer. Characters, Four Male, Three Female.
Publisher, Samuel French, New York City, New York.
Hour Glass, The—W. B. Yeats. Characters, Three Male, One
Female. Publisher, Plays from the Irish Theater, Macmillan and
Company, New York City, New York.
How the Vote Was Won—Cicely Hamilton and Christopher St. John.
Characters, Two Male, Eight Female. Publisher, The Dramatic
Publishing Company, Chicago, Illinois.
Indian Summer—Meilhac and Halevy. Characters, Two Male, Two
Female. Publisher, Samuel French, New York City, New York.
In Hospital—Thomas H. Dickinson. Characters, Three Male, Two
Female. Publisher, In Wisconsin Plays, B. W. Huebsch, New
York City, New York.
Intruder, The—Maurice Maeterlinck. Characters, Three Male, Five
Female. Publisher, Dodd, Mead and Company, New York City,
New York.
In the Wrong House—Martin Becher. Characters, Four Male, Two
Female. Publisher, The Dramatic Publishing Company, Chicago,
Illinois.
In the Zone—Eugene O’Neill. Characters, Nine Male. Publisher, The
Moon of the Caribbees, Boni and Liveright, New York City, New
York.
Joint Owners in Spain—Alice Brown. Characters, Four Female.
Publisher, Samuel French, New York City, New York.
Kleptomaniac, The—Margaret Cameron. Characters, Seven Female.
Publisher, Samuel French, New York City, New York.
Lend Me Five Shillings—J. Maddison Morton. Characters, Five Male,
Two Female. Publisher, Dramatic Publishing Company,
Chicago, Illinois.
Little Red Mare, The—O. E. Young. Characters, Three Male.
Publisher, Dick and Fitzgerald, New York City, New York.
Lonesomelike—Harold Brighouse. Characters, Two Male, Two
Female. Publisher, Gowans and Gray, London, England.
Lost Silk Hat, The—Lord Dunsany. Characters, Five Male. Publisher,
Mitchell Kennerley, New York City, New York.
Maker of Dreams, The—Oliphant Down. Characters, Two Male, One
Female. Publisher, Gowans and Gray, London, England.
Marriage Has Been Arranged, A—Alfred Sutro. Characters, One
Male, One Female. Publisher, Samuel French, New York City,
New York.
Marriage Proposal, A—Anton Tchekoff. Characters, Two Male, One
Female. Publisher, Samuel French, New York City, New York.
Merry, Merry Cuckoo, The—Jeanette Marks. Characters, Four Male,
One Female. Publisher, Little, Brown and Company, Boston,
Massachusetts.
Misdemeanor of Nancy, A—Eleanor Hoyt. Characters, Two Male,
Three Female. Publisher, The Speaker, Volume Two, Hinds,
Hayden and Eldredge, New York City, New York.
Miss Civilization—Richard Harding Davis. Characters, Four Male,
One Female. Publisher, Samuel French, New York City, New
York.
Modesty—Paul Hervieu. Characters, Two Male, One Female.
Publisher, Samuel French, New York City, New York.
Mouse Trap—Burton Harrison. Characters, One Male, One Female.
Publisher, Dramatic Publishing Company, Chicago, Illinois.
Mouse Trap, The—William Dean Howells. Characters, One Male, Six
Female. Publisher, Houghton, Mifflin Company, New York City,
New York.
Mrs. Oakley’s Telephone—Eudora M. Jennings. Characters, Four
Female. Publisher, Samuel French, New York City, New York.
Mrs. Patt and the Law—Mary Aldis. Characters, Three Male, Two
Female. Publisher, Plays for Small Stages, Duffield and
Company, New York City, New York.
Nance Oldfield—C. Reade. Characters, Three Male, Two Female.
Publisher, Walter H. Baker, Boston, Massachusetts.
Neighbors—Zona Gale. Characters, Two Male, Six Female.
Publisher, Wisconsin Plays, B. W. Huebsch, New York City, New
York.
Newly Married Couple, A—Björnstjerne Björnson. Characters, Three
Male, Four Female. Publisher, E. P. Dutton and Company, New
York City, New York.
Noble Lord, The—Percival Wilde. Characters, Two Male, One
Female. Publisher, Henry Holt and Company, New York City,
New York.
Obstinancy—R. Benedix. Characters, Three Male, Three Female.
Publisher, The Dramatic Publishing Company, Chicago, Illinois.
Old Peabody Pew, The—Kate Douglas Wiggin. Characters, One
Male, Eight Female. Publisher, Samuel French, New York City,
New York.
Op’-O-Me-Thumb—Frederic Fenn and Richard Pryce. Characters,
Five Female, One Male. Publisher, Samuel French, New York
City, New York.
Orange Blossoms—J. P. Wooler. Characters, Three Male, Three
Female. Publisher, Dramatic Publishing Company, Chicago,
Illinois.
Our Aunt from California—M. D. Barnum. Characters, Six Female.
Publisher, Samuel French, New York City, New York.
Overtones—Alice Gerstenberg. Characters, Four Female. Publisher,
Washington Square Plays, Doubleday, Page and Company,
New York City, New York.
Pair of Lunatics, A—W. R. Walkes. Characters, One Male, One
Female. Publisher, Samuel French, New York City, New York.
Pantaloon—J. M. Barrie. Characters, Four Male, One Female.
Publisher, Half Hours, Charles Scribner’s Sons, New York City,
New York.
Pipers Pay, The—Margaret Cameron. Characters, Seven Female.
Publisher, Samuel French, New York City, New York.
Playing with Fire—Percival Wilde. Characters, One Male, Two
Female. Publisher, Dawn and Other One Act Plays, Henry Holt
and Company, New York City, New York.
Pot of Broth, A—W. B. Yeats. Characters, Two Male, One Female.
Publisher, In the Hour Glass and Other Plays, Macmillan
Company, New York City, New York.
Prairie Wolf, The—John Lange. Characters, Five Male, Three
Female. Publisher, The Little Country Theater, North Dakota
Agricultural College, Fargo, North Dakota.
Press Cuttings—Bernard Shaw. Characters, Four Male, Four
Female. Publisher, Press Cuttings, Brentano’s, New York City,
New York.
Princess Faraway, The—Edmond Rostand. Characters, One Male,
Two Female. Publisher, Hinds, Noble and Eldredge, New York
City, New York.
Proposal under Difficulties, A—John Kendrick Bangs. Characters,
Three Male, Two Female. Publisher, Harper and Brothers, New
York City, New York.
Real Thing, The—John Kendrick Bangs. Characters, Two Male, Five
Female. Publisher, Harper and Brothers, New York City, New
York.
Riders to the Sea—J. M. Synge. Characters, One Male, Three
Female. Publisher, John W. Luce, Boston, Massachusetts.
Rising of the Moon, The—Lady Gregory. Characters, Four Male.
Publisher, Samuel French, New York City, New York.
Sam Average—Percy Mackaye. Characters, Three Male, One
Female. Publisher, Duffield and Company, New York City, New
York.
Side Show, The—John Kendrick Bangs. Characters, Six Male, Four
Female. Publisher, Harper and Brothers, New York City, New
 York.
Silent System, The—A. Dreyfus. Characters, One Male, One
Female. Publisher, Walter H. Baker, Boston, Massachusetts.
Six Who Pass While the Lentils Boil—Stuart Walker. Characters,
Seven Male, Two Female. Publisher, Little, Brown and
Company, Boston, Massachusetts.
Spreading the News—Lady Gregory. Characters, Seven Male, Three
Female. Publisher, Samuel French, New York City, New York.
Sunbonnets—Marian D. Campbell. Characters, Eleven Female.
Publisher, Walter H. Baker, Boston, Massachusetts.
Sunset—Jerome K. Jerome. Characters, Three Male, Three Female.
Publisher, The Dramatic Publishing Company, Chicago, Illinois.
Suppressed Desires—George Cram Cook and Susan Glaspell.
Characters, One Male, Two Female. Publisher, Plays by Susan
Glaspell, Small, Maynard and Company, Boston,
Massachusetts.
Swan Song, The—Anton Tchekoff. Characters, Two Male. Publisher,
Charles Scribner’s Sons, New York City, New York.
Teeth of the Gift Horse, The—Margaret Cameron. Characters, Two
Male, Four Female. Publisher, Samuel French, New York City,
New York.
Three Pills in a Bottle—Rachel L. Field. Characters, Five Male,
Three Female. Publisher, Plays 47 Workshop, Brentano’s, New
York City, New York.
Tickets, Please—Irving Dale. Characters, Four Female. Publisher,
Walter H. Baker, Boston, Massachusetts.
Tradition—George Middleton. Characters, One Male, Two Female.
Publisher, Henry Holt and Company, New York City, New York.
Traveling Man, The—Lady Gregory. Characters, One Male, One
Female, One Child. Publisher, Samuel French, New York City,
New York.
Trifles—Susan Glaspell. Characters, Three Male, Two Female.
Publisher, Frank Shay, New York City, New York.
Washington’s First Defeat—Charles Nirdlinger. Characters, One
Male, Two Female. Publisher, Samuel French, New York City,
New York.
Waterloo—Sir Arthur Conan Doyle. Characters, Three Male, One
Female. Publisher, Samuel French, New York City, New York.
Which Is Which—H. Theyre Smith. Characters, Three Male, Three
Female. Publisher, The Dramatic Publishing Company, Chicago,
Illinois.
Wire Entanglement, A—Robert Mantell. Characters, Two Male, Two
Female. Publisher, The Dramatic Publishing Company, Chicago,
Illinois.
Workhouse Ward, The—Lady Gregory. Characters, Two Male, One
Female. Publisher, Samuel French, New York City, New York.
Zone Police, The—Richard Harding Davis. Characters, Four Male.
Publisher, Charles Scribner and Sons, New York City, New York.

SUGGESTED LIST OF PLAYS—MORE THAN ONE ACT

Abraham Lincoln—John Drinkwater. Characters, Thirty-three Male,

Eight Female. Publisher, Houghton, Mifflin Company, New York
City, New York.
Admirable Crichton, The—J. M. Barrie. Four Acts. Characters,
Seven Male, Seven Female. Publisher, Charles Scribner’s Sons,
New York City, New York.
Adventure of Lady Ursula, The—Anthony Hope. Four Acts.
Characters, Twelve Male, Three Female. Publisher, Samuel
French, New York City, New York.
Alabama—Augustus Thomas. Four Acts. Characters, Eight Male,
Four Female. Publisher, The Dramatic Publishing Company,
Chicago, Illinois.
Alice-Sit-By-The-Fire—J. M. Barrie. Three Acts. Characters, Four
Male, Five Female. Publisher, Charles Scribner’s Sons, New
York City, New York.
All-Of-A-Sudden-Peggy—Ernest Denny. Three Acts. Characters,
Five Male, Five Female. Publisher, Samuel French, New York
City, New York.
Amazons, The—Arthur Pinero. Three Acts. Characters, Seven Male,
Five Female. Publisher, Walter H. Baker, Boston,
Massachusetts.
Anti-Matrimony—Percy Mackaye. Four Acts. Characters, Two Male,
Three Female. Publisher, Doubleday, Page and Company, New
York City, New York.
Arrival of Kitty, The—Norman Lee Swartout. Three Acts. Characters,
Five Male, Four Female. Publisher, Walter H. Baker and
Company, Boston, Massachusetts.
Arrow Maker’s Daughter, The—Grace E. Smith and Gertrude Nevils.
Two Acts. Characters, Six Male, Seven Female. Publisher,
Samuel French, New York City, New York.
Arrow Maker, The—Mary Austin. Characters, Eight Male, Nine
Female. Publisher, Duffield and Company, New York City, New
York.
As You Like It—William Shakespeare. Five Acts. Characters, Sixteen
Male, Four Female. Publisher, The Dramatic Publishing
Company, Chicago, Illinois.
Bachelors’ Romance, A—Martha Morton. Four Acts. Characters,
Seven Male, Four Female. Publisher, Samuel French, New York
City, New York.
Back to the Farm—Merline H. Shumway. Three Acts. Characters,
Six Male, Four Female. Publisher, University of Minnesota,
Agricultural Extension Division, Minneapolis, Minnesota.
Barbara Frietchie—Clyde Fitch. Four Acts. Characters, Thirteen
Male, Six Female. Publisher, Samuel French, New York City,
New York.
Bee in a Drone’s Hive, A—Cecil Baker. Two Acts. Characters, Nine
Male, Five Female. Publisher, The Little Country Theater, North
Dakota Agricultural College, Fargo, North Dakota.
Beyond the Horizon—Eugene O’Neill. Three Acts. Characters, Six
Male, Four Female. Publisher, Boni and Liveright, New York
City, New York.
Bob, Mr.—Rachel E. Baker. Two Acts. Characters, Three Male, Four
Female. Publisher, Eldridge Entertainment House, Franklin,
Ohio.
Breezy Point—B. M. Locke. Three Acts. Characters, Thirteen
Female. Publisher, Walter H. Baker and Company, Boston,
Massachusetts.
Brown Mouse, The—Mabel B. Stevenson, adapted from the Novel
by Herbert Quick. Four Acts. Characters, Ten Male, Five
Female. Publisher, Samuel French, New York City, New York.
Cabinet Minister, The—A. W. Pinero. Four Acts. Characters, Ten
Male, Nine Female. Publisher, Walter H. Baker, Boston,
Massachusetts.
Captain Rackett—Charles Townsend. Three Acts. Characters, Five
Male, Three Female. Publisher, The Dramatic Publishing
Company, Chicago, Illinois.
Chinese, Lantern, The—Lawrence Housman. Three Acts.
Characters, Six Male, Two Female. Publisher, Samuel French,
New York City, New York.
Clarence—Booth Tarkington. Four Acts. Characters, Five Male, Five
Female. Publisher, Samuel French, New York City, New York.
Christopher Columbus—Alice Johnstone Walker. Four Acts.
Characters, Eighteen Male, Two Female. Publisher, Henry Holt
and Company, New York City, New York.
College Widow, The—George Ade. Four Acts. Characters, Fifteen
Male, Ten Female. Publisher, Sanger and Jordan, New York
City, New York.
County Chairman, The—George Ade. Four Acts. Characters,
Sixteen Male, Six Female. Publisher, Sanger and Jordan, New
York City, New York.
Cousin Kate—H. H. Davies. Three Acts. Characters, Three Male,
Four Female. Publisher, Walter H. Baker and Company, Boston,
Massachusetts.
Country-Side, The—Harry Hagerott. Three Acts. Characters, Eight
Male, Three Female. Publisher, The Little Country Theater,
North Dakota Agricultural College, Fargo, North Dakota.
Cricket on the Hearth—Charles Dickens. Three Acts. Characters,
Seven Male, Eight Female. Publisher, The Dramatic Publishing
Company, Chicago, Illinois.
Cupid at Vassar—Owen Davis. Four Acts. Characters, Twelve
Female. Publisher, The Dramatic Publishing Company, Chicago,
Illinois.
David Garrick—T. W. Robertson. Three Acts. Characters, Eight
Male, Three Female. Publisher, The Dramatic Publishing
Company, Chicago, Illinois.
David Harum—Eugene Noyes Westcott. Three Acts. Characters,
Eight Male, Three Female. Publisher, Charles Frohman
Company, New York City, New York.
Doll’s House, The—H. Ibsen. Three Acts. Characters, Three Male,
Four Female. Publisher, Walter H. Baker, Boston,
Massachusetts.
Engaged—W. S. Gilbert. Three Acts. Characters, Five Male, Three
Female. Publisher, The Dramatic Publishing Company, Chicago,
Illinois.
Esmeralda—Mrs. Frances Hodgson Burnett and William Gillette.
Three Acts. Characters, Ten Male, Five Female. Publisher,
Samuel French, New York City, New York.
Every Ship Will Find a Harbor—Albert C. Heine. Three Acts.
Characters, Five Male, Four Female. Publisher, The Little
 Country Theater, North Dakota Agricultural College, Fargo,
North Dakota.
Farmerette, The—Evelyn Gray Whiting. Three Acts. Characters,
Seven Female. Publisher, Walter H. Baker, Boston,
Massachusetts.
Fortune Hunter, The—Winchell Smith. Four Acts. Characters,
Seventeen Male, Three Female. Publisher, Samuel French,
New York City, New York.
Girl With the Green Eyes, The—Clyde Fitch. Four Acts. Characters,
Ten Male, Seven Female. Publisher, Samuel French, New York
City, New York.
Great Divide, The—William Vaughn Moody. Three Acts. Characters,
Eleven Male, Three Female. Publisher, Sanger and Jordan,
New York City, New York.
Green Stockings—A. E. W. Mason. Three Acts. Characters, Seven
Male, Five Female. Publisher, Samuel French, New York City,
New York.
Hadda Padda—Godmundur Kamban. Four Acts. Characters, Nine
Male, Seven Female. Publisher, Alfred Knopf, New York City,
New York.
Hazel Kirke—Steele Mackaye. Four Acts. Characters, Nine Male,
Five Female. Publisher, Samuel French, New York City, New
York.
Her Husband’s Wife—A. E. Thomas. Three Acts. Characters, Three
Male, Three Female. Publisher, Samuel French, New York City,
New York.
Hick’ry Farm—Edwin M. Stern. Two Acts. Characters, Six Male, Two
Female. Publisher, The Dramatic Publishing Company, Chicago,
Illinois.
Hour Glass, The—William Butler Yeates. Characters, Four Male,
Two Female, Two Children. Publisher, The Macmillan Company,
Chicago, Illinois.
House Next Door, The—J. H. Manners. Three Acts. Characters,
Eight Male, Four Female. Publisher, Walter H. Baker, Boston,
Massachusetts.
Hurry, Hurry, Hurry—Leroy Arnold. Three Acts. Characters, Six Male,
Three Female. Publisher, Samuel French, New York City, New
York.
Importance of Being Earnest, The—Oscar Wilde. Three Acts.
Characters, Five Male, Four Female. Publisher, Samuel French,
New York City, New York.
It Pays to Advertise—Roi Cooper Megrue and Walter Hackett. Three
Acts. Characters, Eight Male, Four Female. Publisher, Samuel
French, New York City, New York.
Kindling—Charles Kenyon. Three Acts. Characters, Six Male, Four
Female. Publisher, Doubleday, Page and Company, New York
City, New York.
Lady of the Weeping Willow Tree, The—Stuart Walker. Three Acts.
Characters, Six. Publisher, Stewart and Kidd Company,
Cincinnati, Ohio.
Lady Windermere’s Fan—Oscar Wilde. Four Acts. Characters,
Seven Male, Eight Female. Publisher, Samuel French, New York
City, New York.
Leonarda—Björnstjerne Björnson. Four Acts. Characters, Six Male,
Six Female. Publisher, The Dramatic Publishing Company,
Chicago, Illinois.
Little Minister, The—J. M. Barrie. Four Acts. Characters, Eleven
Male, Five Female. Publisher, Charles Scribner’s Sons, New
York City, New York.
Little Women—Marian De Forest, adapted from Story by Louisa M.
Alcott. Four Acts. Characters, Five Male, Seven Female.
Publisher, Samuel French, New York City, New York.
Lion and the Mouse, The—Charles Klein. Four Acts. Characters, Ten
Male, Eight Female. Publisher, Samuel French, New York City,
New York.