tributes materially to the accomplishment of every other, and that all together advance the realization of the larger purposes of language study—the enrichment, control, and effective use of mental resources. The contents of this chapter may be summarized as follows:

1. A continuation of the work begun in Chapter One: expressive reading; intimate study of simple stories; conversations; dramatizing; oral reproductions; picture study and oral picture stories; the study of a poem, and the rendering of it in dramatic and in story form.

2. New work.

(a) Sentences: statements and questions.

(b) The use of the capital to begin the first word of a sentence.

(c) The use of the period at the end of a statement.

(d) The use of the question mark.

(e) Copying statements and questions.

(f) Writing from dictation: studied and unstudied

matter.

(g) Writing original statements.

(h) Relating original experiences.

I (25). Reading

Read with the children the myth, How the Linden Came to Be. Let it be so read that every character in it will stand out distinctly, the strong, selfsatisfied oak, the frail, timid plant, the scornful crow, the rough, unsympathetic wind, the kind sun

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37

and rain. Every reader must feel and appropriately express the attitude of each of these characters. With this purpose distinctly before teacher and pupils, this story should be read and reread until every child can at once throw himself sympathetically into the attitude of oak, plant, crow, wind, sun, and rain. The child who can not do this has not read the story; he has read only words, and the lesson has not served its full purpose for that child.

II (27). Studying the Story of the Linden

This is a lesson for the children to study and prepare by themselves. They should probably be given considerable help about it; just how much they need to make their study effective the teacher must determine. (See suggestions for teaching children to study a similar lesson, p. 9.) Probably the greatest difficulty of many will be found in realizing just what every direction means. Read with them these directions-also the directions in the last chapter to which they are referred — and make sure that they not merely understand what these directions say, but that they are moved to do as they say. To learn how to formulate and ask good questions, as they are directed to do, is quite as important and just as difficult as the answering of questions. Encourage them in this, and call for their questions at the next lesson without fail.

The things to "do and say serve not merely as

a preparation for dramatizing the story; the prac tice of these things develops in the child discrimi nating feelings for the meaning and use of words and expressions. Children should be encouraged to abandon themselves to these exercises. In doing so, they think, feel, act, live through and through. Mechanical, perfunctory performance and speech serve no good purpose whatever; they merely help to develop and confirm the habit of making the minimal use of language,—of getting the least possible meaning out of language that is read or heard, of putting the least possible meaning into language that is used.

Children naturally abandon themselves sympathetically to such exercises as these, when they feel free to do so. You may find the recess period the most suitable time for you to start the children — and to join with them—in these exercises. They will be found as interesting as any games. When these exercises are taken up in the classroom, let it be with all the wholesome freedom and spontaneity of the recess period.

III (30). Conversation and Dramatizing

as

The children come to this exercise prepared far as they can prepare to dramatize the story of the Linden. They have read it and reread it; they have answered to themselves questions that bring out the chief events of the story and the main char

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39

acteristics of the actors; they have prepared other questions which they wish to ask; they have practiced doing and saying things as they were done and said by the people in the story; each one has thought which parts he would like to play, and which children he would like to have play the other parts.

What preparation shall the teacher have made, and how shall she conduct this exercise - which is to culminate in the dramatization of the storyso as to enlist fully the thought and the activity of the children? She must have so mastered the subject matter of the story, have formulated so clearly the plan of procedure, that she may be entirely un hampered by books, either the pupils' or her own The exercise may well consist of two parts: First, questions and answers on the actors, actions, events, and conversation of the story, and the choice of children to take the various parts; and, second, the dramatizing.

The first part should be carried out in systematic, progressive order, so that everything may stand out clearly, with no confusion, in the pupils' minds. It must be so carried out that the children will have, and will feel that they have, a large active part in the matter. They must ask questions, they must make suggestions about the children to take the different parts, and about the way these parts are to be acted. The teacher will direct and make effective the questions and suggestions of the children.

The following outline of questions and suggestions, to be supplemented by such others as the children may ask or offer, or as the teacher may find necessary, will indicate more definitely the course which the first, or preparatory, part of the exercise should take.

People in the story.

Little Plant.

Where did the little plant live?

Choose a child to be the little plant.

At the beginning of the play should she stand or sit?
Where shall we have her seated?

Oak Tree.

What kind of tree was the oak?

What kind of voice do you think he had?

Choose a child to be the oak tree.

Did the oak tree grow near the little plant?

Then where should the child who plays the oak tree stand?

Did any other trees grow near the oak tree and the little plant?

Choose five children for these other trees.

The Crow.

Show how the old crow came to the little plant.

Choose a child for the crow.

This child may hop to the little plant.

The child calls "Can't!

"Caw! Caw!"

Can't!" just as a crow calls

The crow flew away from the little plant-you may show

how.