De La Salle Fifth Reader - Brothers of the Christian Schools
_DE LA SALLE SERIES_
FIFTH READER
[Illustration: WILLIAM McKINLEY PRESIDENT 1897-1901]
(REVISED EDITION, 1922)
BY THE BROTHERS OF THE CHRISTIAN SCHOOLS, ST. JOSEPH'S NORMAL INSTITUTE,
POCANTICO HILLS, N.Y. LA SALLE INSTITUTE, GLENCOE, MO.
* * * * *
CONTENTS
_2_ PREFACE
_3_ INTRODUCTION
_4_ SUGGESTIONS
_5_ GUIDE TO PRONUNCIATION
_6_ DEFINITIONS
_7_ HYMN TO ST. LA SALLE. _Mercedes_
_8_ COLUMBUS AT THE CONVENT. _J.T. Trowbridge_
_9_ THE LITTLE FERN. _Mara L. Pratt_
_10_ HELPING MOTHER.
_11_ A CONTENTED WORKMAN.
_12_ TWO LABORERS. _Thomas Carlyle_
_13_ THE GRUMBLING PUSS.
_14_ THE BROOK SONG. _James Whitcomb Riley_
_15_ THE STORY OF THE SEED-DOWN. _Rydingsvard_
_16_ THE USE OF FLOWERS. _Mary Howitt_
_17_ PIERRE'S LITTLE SONG.
_18_ SEPTEMBER. _Helen Hunt Jackson_
_19_ "MY OLD KENTUCKY HOME." _Mrs. T.A. Sherrard_
_20_ THE FIRST MIRACLE OF JESUS.
_21_ MY BEADS. _Father Ryan_
_22_ THE HARP THAT ONCE THROUGH TARA'S HALLS. _Thomas Moore_
_23_ A LITTLE LADY. _Louisa M. Alcott_
_24_ WHAT HOUSE TO LIKE. _Anon._
_25_ A SONG OF DUTY. _Denis A. McCarthy_
_26_ AN EVENING WITH THE ANGELS.
_27_ MY GUARDIAN ANGEL. _Cardinal Newman_
_28_ LITTLE BELL. _Thomas Westwood_
_29_ A MODEST WIT. _Selleck Osborne_
_30_ WOODMAN, SPARE THAT TREE. _George P. Morris_
_31_ THE BOSTON TEA PARTY.
_32_ THE OLD OAKEN BUCKET. _Samuel Woodworth_
_33_ THE BOY AND THE CRICKETS. _Pierre J. Hetzel_
_34_ OUR HEROES. _Phoebe Cary_
_35_ THE MINNOWS WITH SILVER TAILS. _Jean Ingelow_
_36_ THE BROOK. _Tennyson_
_37_ LEARNING TO THINK.
_38_ ONE BY ONE. _Adelaide A. Procter_
_39_ THE BIRCH CANOE. _Longfellow_
_40_ PETER OF CORTONA.
_41_ To MY DOG BLANCO. _J.G. Holland_
_42_ A STORY OF A MONK.
_43_ THE SERMON OF ST. FRANCIS. _Longfellow_
_44_ GLORIA IN EXCELSIS. _Father Ryan_
_45_ THE FIRST CHRISTMAS TREE. _Eugene Field_
_46_ THE HOLY CITY.
_47_ THE FEAST OF TONGUES. _Aesop_
_48_ THE NIGHTINGALE AND THE GLOWWORM. _William Cowper_
_49_ JACK FROST. _Hannah F. Gould_
_50_ "GOING! GOING! GONE!" _Helen Hunt Jackson_
_51_ SEVEN TIMES TWO. _Jean Ingelow_
_52_ MY MOTHER'S GRAVE.
_53_ THE OLD ARM-CHAIR. _Eliza Cook_
_54_ BREAK, BREAK, BREAK! _Tennyson_
_55_ GOD IS OUR FATHER.
_56_ HAPPY OLD AGE. _Robert Southey_
_57_ KIND WORDS. _Father Faber_
_58_ KINDNESS IS THE WORD. _John Boyle O'Reilly_
_59_ DAFFODILS. _William Wordsworth_
_60_ THE STORY OF TARCISIUS. _Cardinal Wiseman_
_61_ LEGEND OF THE WAXEN CIBORIUM. _Eleanor C. Donnelly_
_62_ LITTLE DAFFY-DOWN-DILLY. _Nathaniel Hawthorne_
_63_ IN SCHOOL DAYS _Whittier_
_64_ THE SUN'S FAMILY
_65_ WILL AND I _Paul H. Hayne_
_66_ CHRISTMAS DINNER AT THE CRATCHITS'. _Charles Dickens_
_67_ WHICH SHALL IT BE? _Anon_
_68_ ST. DOROTHY, MARTYR.
_69_ TO A BUTTERFLY. _William Wordsworth_
_70_ THE PEN AND THE INKSTAND. _Hans Christian Andersen_
_71_ THE WIND AND THE MOON. _George MacDonald_
_72_ ST. PHILIP NERI AND THE YOUTH.
_73_ THE WATER LILY. _Jean Ingelow_
_74_ A BUILDER'S LESSON. _John Boyle O'Reilly_
_75_ WASHINGTON AND HIS MOTHER.
_76_ WASHINGTON'S BIRTHDAY. _Margaret E. Sangster_
_77_ THE SWORD OF BUNKER HILL. _William R. Wallace_
_78_ THE MARTYR'S BOY. _Cardinal Wiseman_
_79_ THE ANGEL'S STORY. _Adelaide A. Procter_
_80_ GLUCK'S VISITOR. _John Ruskin_
_81_ A VISIT FROM ST. NICHOLAS. _Clement C. Moore_
_82_ COMMODORE JOHN BARRY.
_83_ THE BOY OF THE HOUSE. _Jean Blewett_
_84_ BIOGRAPHIES
(Transcriber's Note: Although "ABOU BEN ADHEM AND THE ANGEL. _Leigh Hunt_"
and "A SIMPLE RECIPE. _James Whitcomb Riley_" were originally shown in the
list above, neither work appears in the text.)
* * * * *
_2_
PREFACE
The object of the Christian Brothers in issuing a new series of Readers
is to place in the hands of the teachers and pupils of our Catholic
schools a set of books embodying the matter and methods best suited to
their needs. The matter has been written or chosen with a view to
interest and instruct, to cultivate a taste for the best literature, to
build up a strong moral character and to imbue our children with an
intelligent love of Faith and Country. The methods are those approved by
the most experienced and progressive teachers of reading in Europe and
America.
These Readers have also been specially designed to elicit thought and
facilitate literary composition. In furtherance of this idea, class
talks, word study, the structure of sentences, drills on certain correct
forms of expression, the proper arrangement of ideas, explanation of
phrases and literary expressions, oral and written reproductions of
narrations and descriptions, and exercises in original composition, all
receive the attention which their importance demands. Thus will the
pupils, while learning to read and from their earliest years, acquire
that readiness in grasping the thoughts of others and that fluency in
expressing their own, which are so essential to a good English
education.
In teaching the art of Reading as well as that of Composition, the
principle of order should in a great measure determine the value of the
methods to be employed. In the acquisition of knowledge, the child
instinctively follows the order of nature. This order is first,
_observation_; second, _thought_; third, _expression_. It becomes the
duty of the teacher, consequently, to lead the child to observe
_accurately_, to think _clearly_, and to express his thoughts
_correctly_. And text-books are useful only in so far as they supply the
teacher with the material and the system best calculated to accomplish
such results.
It is therefore hoped that the present new series of Readers, having
been planned in accordance with the principle just enunciated, will
prove a valuable adjunct in our Catholic schools.
* * * * *
_3_
INTRODUCTION
In this Fifth Reader of the De La Salle Series the plan of the preceding
numbers has been continued. The pupil has now mastered the mechanical
difficulties of learning to read, and has acquired a fairly good working
vocabulary. Hence he is prepared to read intelligently and with some
degree of fluency and pleasure. Now is the time to lead him to acquire a
taste for good reading. The selections have been drawn mainly from
authors whose writings are distinguished for their moral and literary
value, and whose style is sure to excite a lasting interest.
In addition to giving the pupil practice in reading and forming a basis
for oral and written composition work, these selections will raise his
ideas of right living, will quicken his imagination, will give him his
first knowledge of many things, stimulate his powers of observation,
enlarge his vocabulary, and correct and refine his mode of expression. A
wholesome reading habit, so important to-day, will thus be easily,
pleasantly and unconsciously formed.
The following are some of the features of the book:
GUIDE TO PRONUNCIATION.--This Guide is to be referred to again and
again, and the diacritical marks carefully taught. Instruction in the
vowel sounds is an excellent drill in articulation, while a knowledge of
the diacritical marks enables the pupil to master these sounds for
himself when consulting the dictionary.
VARIETY OF MATTER.--In the volume will be found the best sentiments of
the best writers. The pupil will find fables, nature studies, tales of
travel and adventure, brave deeds from history and fiction, stories of
loyalty and heroism, examples of sublime Christian self-sacrifice, and
selections that teach industry, contentment, respect for authority,
reverence for all things sacred, attachment to home, and fidelity to
faith and Country.
LANGUAGE STUDY.--If reading is to hold its proper place in the class
room, the teaching of it must not be confined to the mere reading of the
text. In its truest sense, reading is far more comprehensive. The
teacher will question the pupil on what he has read, point out to him
the beauties of thought and language, find out what hold the reading has
taken upon his memory, how it has aroused his imagination, assisted his
judgment, directed his will, and contributed to his fund of general
information. To assist in this most important work is the object aimed
at in the matter given for Language Study. Such study will also give
fuller powers of interpretation and corresponding appreciation of the
selection considered simply as literature.
RECITATIONS.--There are some selections marked for recitation. The
public recitation of these extracts will banish awkwardness of manner,
beget self-confidence, and lay the foundation for subsequent
elocutionary work. Besides, experience teaches that a single poem or
address based upon some heroic or historic event, recited before a class
or a school, will often do more to build up a noble character and foster
a love of history, than a full term of instruction by question and
answer.
POETRY.--The numerous poetic selections, some of which are partly
analyzed by way of suggestion, will create a love for the highest and
purest forms of literature, will broaden the field of knowledge, and
emphasize the teachings of some of the prose selections. Many of them
have been written by American authors. Every American boy and girl
should be acquainted with the works of poets who have done so much for
the development of American literature and nationality.
MEMORY GEMS.--"The memorizing of choice bits of prose and poetry
enriches the vocabulary of the pupils, adorns their memory, suggests
delicate and noble thoughts, and puts them in possession of sentences of
the best construction. The recitation of these expressive texts
accustoms the children to speak with ease, grace and elegance."
("Elements of Practical Pedagogy.")
BIOGRAPHIES.--Young children enjoy literature for its own sake, and take
little interest in the personality of the writer; but as they grow
older, pleasure in the work of an author arouses an interest in the
writer himself. Brief biographical sketches are given at the close of
the volume as helps in the study of the authors from whom selections are
drawn, and to induce the pupils to read further.
* * * * *
_4_
SUGGESTIONS
WORD STUDY.--The pupil should know how to spell and pronounce correctly
all the words of the selection he is preparing to read. He should know
their ordinary meanings and the special meanings they may have in the
text. He should be able to write them correctly from dictation and to
use them in sentences of his own. He should examine if they are
primitive, derivative, or compound; he should be able to name the
prefixes and suffixes and show how the meanings of the original words
are modified by their use. He should cultivate the habit of word
mastery. What is read will not otherwise be understood. Without it there
can be no good reading, speaking or writing.
EXPRESSIVE READING.--There should be constant drill to secure correct
pronunciation, distinct articulation, proper emphasis, and an agreeable
tone of voice, without which there can be no expressive reading. This is
a difficult task, and will take much time, trouble and practice; but it
has far-reaching results. It enlarges the sympathy of the pupil and lays
the foundation for a genuine love of literature. Do not, then, let the
reading lesson drift into a dull and monotonous calling of words. On the
contrary, let it be intelligent, spirited, enthusiastic. Emotion comes
largely from the imagination. The pupil himself must be taught not only
to feel what he reads, but to make its meaning clear to others. It is
important that children be taught to acquire thought through the ear.
CONCERT READING.--Reading in concert is generally of little value, and
the time given to it ill-spent. It does not aid the children in getting
thought, or in expressing it fluently. As an exercise in teaching
reading it is ineffective and often positively harmful. A concert
recitation to which special training has been given partakes of the
nature of a hymn or a song, and then becomes an element of value. If
occasionally there must be concert reading in the class room, it should
always be preceded by individual mastery of the selection.
POEMS.--In the first lesson, a poem, like a picture, should be presented
as a whole, and never dissected. The teacher should first read it
through, not stopping for note or comment. He should then read it again,
part by part, stopping, for question, explanation and discussion.
Lastly, the whole poem, should be read with suitable emotion, so that
the final impression may be made by the author's own words. It is
important that the pupil get the message which the author intended to
give. In teaching a descriptive poem, make the pictures as vivid as
possible, and thus awaken the imagination. In dealing with a narrative
poem, the sequence of events must first be made clear. When this is
done, the aim should be to give fuller meaning to the story by bringing
out clearly the causes, motives and results of acts. All this will take
time. Be it so. One poem well read, well studied, is worth more than a
volume carelessly read over. In reading poetry, be careful that the
pupils, while giving the rhythm of the lines, do not fall into the
singsong tone so common and so disagreeable.
EXPLANATIONS.--Explanations should accompany every reading lesson,
without which there can be no serious teaching of the vernacular. By
their means the teacher enters into communication with his pupils; he
gets them to speak, he corrects their errors, trains their reason, and
forms their taste. It has been said that a teacher able to explain
selections in prose and poetry "holds his class in the hollow of his
hand." The teacher should insist that the pupil express himself clearly
and correctly, not only during the reading lesson, but on every subject
he has occasion to deal with, either orally or in writing, throughout
the day's recitations.
REVIEWS.--As the memory of children, though prompt, is weak, frequent
reviews should be held. They are necessary for the backward pupils and
advantageous for the others. Have an informal talk with the children on
what they have read, what they have learned, what they have liked, and
what has interested them. Some important parts of the prose and poetry
previously studied might, during this exercise, be re-read with profit.
COMPOSITION.--Continue oral and written composition. The correct use of
written language is best taught by selecting for compositions
subject-matter that deeply interests the children. If persevered in,
this will secure a good, strong, idiomatic use of English. If the words
of a selection that has been studied appear now and then in the
children's conversation or writing, it should be a matter for praise;
for this means that new words have been added to their vocabulary, and
that the children have a new conception of beauty of thought and speech.
See that all written work be done neatly and legibly. Slovenly or
careless habits should never be allowed in any written work.
MEMORY GEMS.--Do not lose sight of the memory gems. Familiarize the
pupil with them. Their value to the child lies more in future good
resulting from them than in present good. These treasures of thought
will live in the memory and influence the daily lives of the children
who learn them by heart.
THE DICTIONARY.--The use of the dictionary is a necessary part of
education. It is a powerful aid in self-education. Its use will double
the value of study in connection with reading and language. Every
Grammar School, High School and College should be supplied with several
copies of a good unabridged dictionary, and every pupil taught how to
consult it, and encouraged to do so. The dictionary should be the book
of first and last and constant resort.
USE OF THE LIBRARY.--The teacher should endeavor to create an interest
in those books from which the selections in the Reader are taken, and in
others of equal grade and quality. Encourage the children to take books
from the library. Direct them in their choice. Encourage home reading.
The reading of good books should be a part of regular school work;
otherwise little or no true progress can be made in speaking and
writing. The best way to learn to speak and write good English is to
read good English.
For additional suggestions as to the best means of teaching Reading and
Language, teachers are referred to Chapters II and IV, Part IV, of
"Elements of Practical Pedagogy," by the Christian Brothers, and
published by the La Salle Bureau of Supplies, 50 Second Street, New
York.
* * * * *
Acknowledgments are gratefully made to the following authors,
publishers, and owners of copyright, who have courteously granted
permission to use the selections which bear their names:
"Mercedes," Miss Eleanor C. Donnelly, Miss Mary Boyle O'Reilly, Miss
Kate Putnam Osgood, Miss P.C. Donnelly, Mrs. Margaret E. Sangster, Mr.
Denis A. McCarthy, Mr. James Whitcomb Riley, Mr. George Cooper, Mr. J.T.
Trowbridge, "Rev. Richard W. Alexander;" University of Notre Dame; The
Ladies' Home Journal; Lothrop, Lee & Shepard Co.; The Educational
Publishing Co.; Little, Brown & Co.; The Bobbs-Merrill Co.; P.J. Kenedy
& Sons; The Hinds & Noble Co.; Charles Scribner's Sons.
The selections from Longfellow, Whittier, Holmes, Hawthorne, Fields,
Trowbridge, Phoebe Cary, Charles Dudley Warner, are used by permission
of, and by special arrangement with, Houghton, Mifflin & Co., publishers
of the works of these authors, and to these gentlemen are tendered
expressions of sincere thanks.
* * * * *
_5_
GUIDE TO PRONUNCIATION
NOTE.--This Guide is given to aid the pupil in the use of the
dictionary, and will be found to cover all ordinary cases. In the
diacritical marking, as in accentuation and syllabication, Webster's
International Dictionary has been taken as authority.
VOWELS
(Transcriber's Note: Equivalent sound shown within round brackets.)
[=a] as in gate--g[=a]te
[^a] as in care--c[^a]re
[)a] as in cat--c[)a]t
[.a] as in ask--[.a]sk
[a.] ([)o]) as in what--wh[a.]t
[:a] as in car--c[:a]r
[a:] as in all--[a:]ll
ai ([^a]) as in air--[^a]ir
ai ([=a]) as in aim--[=a]im
au ([:a]) as in aunt--[:a]unt
[=e] as in eve--[=e]ve
[)e] as in end--[)e]nd
[~e] as in her--h[~e]r
[^e] as in there--th[^e]re
[e=] ([=a]) as in they--th[e=]y
ea ([=e]) as in ear--[=e]ar
ei ([=e]) as in receive--rec[=e]ive
[=i] as in ice--[=i]ce
[)i] as in pin--p[)i]n
[~i] ([~e]) as in bird--b[~i]rd
[:i] ([=e]) as in police--pol[:i]ce
i[e=] ([=e]) as in chief--chi[=e]f
[=o] as in old--[=o]ld
[^o] as in lord--l[^o]rd
[)o] as in not--n[)o]t
[.o] ([)u]) as in son--s[.o]n
[o.] ([u.]) as in wolf--w[o.]lf
[o:] ([=oo]) as in do--d[o:]
oa ([=o]) as in boat--b[=o]at
[=oo] ([o:]) as in moon--m[=oo]n
[)oo] ([o.]) as in foot--f[)oo]t
[=u] as in pure--p[=u]re
[)u] as in cup--c[)u]p
[^u] as in burn--b[^u]rn
[u.] ([o.]) as in full--f[u.]ll
[u:] as in rude--r[u:]de
ew ([=u]) as in new
[=y] ([=i] as in fly--fl[=y]
[)y] ([)i]) as in hymn--h[)y]mn
[~y] ([~e]) as in myrrh--m[~y]rrh
CONSONANTS
c (s) as in cent
c (k) as in cat
ce (sh) as in ocean
ch (k) as in school
ch (sh) as in machine
ci (sh) as in gracious
dg (j) as in edge
ed (d) as in burned
ed (t) as in baked
f (v) as in of
g (hard) as in get
g (j) as in gem
gh (f) as in laugh
n (ng) as in ink
ph (f) as in sulphur
qu (kw) as in queen
s (z) as in has
s (sh) as in sure
s (zh) as in pleasure
ssi (sh) as in passion
si (zh) as in occasion
ti (sh) as in nation
wh (hw) as in when
x (z) as in Xavier
x (ks) as in tax
x (gz) as in exist
* * * * *
_6_
DEFINITIONS
LANGUAGE is the expression of thought by means of words.
WORDS, with respect to their _origin_, are divided into _primitive_
and _derivative_; and with respect to their _composition_, into _simple_
and _compound_.
A PRIMITIVE word is one that is not derived from another word.
A DERIVATIVE word is one that is formed from another word by means
of prefixes or suffixes, or by some other change.
A SIMPLE word is one that consists of a single significant term.
A COMPOUND word is one made up of two or more simple words.
A SENTENCE is a combination of words which make complete sense.
A SYLLABLE is a word or a part of a word pronounced by one effort
of the voice.
The DIAERESIS is the mark [..] placed over the second of two
adjacent vowels, to denote that they are to be pronounced as distinct
letters; as _REECHO_.
RULES FOR THE USE OF CAPITAL LETTERS
The first word of every SENTENCE should begin with a capital.
PROPER NAMES, and words derived from them, should begin with
capitals.
The first word of every LINE OF POETRY should begin with a capital.
All names of God and all titles of the DEITY, as well as all
pronouns referring to the Deity, should begin with capitals.
The words I and O should always be capitals.
The first word of a DIRECT QUOTATION should begin with a capital.
The names of the DAYS and of the MONTHS should begin with
capitals; but not the names of the seasons.
* * * * *
_7_
HYMN TO ST. LA SALLE.
Glorious Patron! low before thee
Kneel thy sons, with hearts a-flame!
And our voices blend in music,
Singing praises to thy name.
Saint John Baptist! glorious Patron!
Saint La Salle! we sound thy fame.
Lover of our Queen and Mother,
At her feet didst vow thy heart,
Earth, and all its joys, forsaking,
Thou didst choose the better part.
Saint La Salle, our glorious Father,
Pierce our souls with love's own dart.
Model of the Christian Teacher!
Patron of the Christian youth!
Lead us all to heights of glory,
As we strive in earnest ruth.
Saint La Salle! oh, guard and guide us,
As we spread afar the Truth!
In this life of sin and sorrow,
Saint La Salle, oh, guide our way,
In the hour of dark temptation,
Father! be our spirit's stay!
Take our hand and lead us homeward,
Saint La Salle, to Heaven's bright Day!
_Mercedes._
[Illustration: ST. JOHN BAPTIST DE LA SALLE.]
Founder of the Brothers of the Christian Schools, pointing out the way
of salvation to the children of all nations.
"Christian Teachers are the sculptors of living angels, moulding and
shaping the souls of youth for heaven." _Most Reverend Archbishop
Keane, of Dubuque._
* * * * *
_8_
due
mien
fri'ar
pri'or
Pa'los
por'ter
con'vent
pre'cious
grat'i tude
COLUMBUS AT THE CONVENT.
Dreary and brown the night comes down,
Gloomy, without a star.
On Palos town the night comes down;
The day departs with stormy frown;
The sad sea moans afar.
A convent gate is near; 'tis late;
Tin-gling! the bell they ring.
They ring the bell, they ask for bread--
"Just for my child," the father said.
Kind hands the bread will bring.
White was his hair, his mien was fair,
His look was calm and great.
The porter ran and called a friar;
The friar made haste and told the prior;
The prior came to the gate.
He took them in, he gave them food;
The traveler's dreams he heard;
And fast the midnight moments flew.
And fast the good man's wonder grew,
And all his heart was stirred.
The child the while, with soft, sweet smile,
Forgetful of all sorrow,
Lay soundly sleeping in his bed.
The good man kissed him there, and said:
"You leave us not to-morrow!
"I pray you, rest the convent's guest;
This child shall be our own--
A precious care, while you prepare
Your business with the court, and bear
Your message to the throne."
And so his guest he comforted.
O wise, good prior! to you,
Who cheered the stranger's darkest days,
And helped him on his way, what praise
And gratitude are due!
_J.T. Trowbridge._
By permission of the author.
* * * * *
Where is Palos? What is it noted for?
Who was the "good man" spoken of in the poem?
In the line "The traveler's dreams he heard," who was the traveler?
Relate the story of his dreams. Why are they called dreams? Did the
dreams become facts? In what way?