Talks on Teaching Literature

by Arlo Bates

V

The first reading of a play, whether it come before or after the mastering of the vocabulary, should be unbroken except by the pauses necessary between consecutive recitations, and must above everything be clear and intelligible. In all but the most exceptional circumstances it should be done by the teacher, the class following the text in books of their own. No teacher who cannot read well has

any business to attempt to teach literature at all, for reading aloud is the most effective of all means to be used in the study. This does not mean that the reading should be over-dramatic, and still less that it should be what is popularly known as "elocutionary;" but it does mean that it shall be agreeable, intelligent, and sympathetic. The teacher must both understand and feel the work, and must be trained to convey both comprehension and emotion through the voice. The pupils will from a first reading get chiefly the plot, but they may also be unconsciously prepared for the more important knowledge of character which is naturally the next step in the process of studying the drama.

As preparation for the first reading of "Macbeth" little is needed in the way of general explanation. The discussion of the supernatural element, of the responsibility of the characters, and of the central thought of the play, may safely be left for later study. Young people will respond to the direct story, and it is not unwise to let the plot produce its full effect as simple narrative. It is well to state beforehand how it comes that the kingship does not necessarily go by immediate descent, and so to make it evident how Macbeth secured the throne; it may be well also to comment briefly on the state of society in which crime was more possible than now; but beyond this the play may be left to tell its own tale.

In this first reading the teacher will do well to indicate such points of stage-setting as are not

evident, and such stage "business" as is necessary to the understanding of the scene. It is as well, however, not to give too much stress to this. To follow the play of emotions is with children instinctive, and this they will do without dwelling on the details of the scene too closely in a material sense. At least a very little aid will be sufficient at this stage. In a subsequent reading these matters may be more fully brought out, although I am convinced that even then it is easy to overdo the insisting upon aids to visualization.

What may be done and should not be omitted is the interspersion in passing of comments so brief that they do not interrupt, yet which throw light upon meanings which might otherwise be likely to pass unnoticed. Nothing should be touched upon in this way which is so complicated as to require more than a word or two to make it plain. What I mean is illustrated by these examples:

I come Graymalkin.

Paddock calls.—i, 9, 10.

The voice in reading conveys the idea that the witches speak to familiar spirits in the air, but it is well to state that fact explicitly.

What, can the devil speak true?—iii, 107.

Banquo thinks instantly of the word of the witches,

Glamis, and thane of Cawdor, etc.—iii, 111-119.

In these lines and in 126-147, it is of so much importance that the distinction between the asides

and the direct speech be appreciated that it may be well to call attention to the changes.

Cousins, a word, I pray you.—iii, 126.

Banquo draws the others aside, probably to tell them of the prediction by the witches of the news they have brought, and this gives Macbeth a moment by himself to think of the strangeness of it.

Think upon what hath chanced.—iii, 153.

This is said, of course, to Banquo.

We will establish our estate upon

Our eldest son, Malcolm.—iv, 37.

Here the conditions of succession already spoken of may be alluded to, and the fact noted that if Macbeth had entertained any hopes of succeeding Duncan legitimately, these were now dispelled.

And when goes hence?—v, 60.

The sinister suggestion of this may well be emphasized by calling attention to it.

By your leave, hostess.—vi, 31.

With these words Duncan, who has taken the hand of Lady Macbeth, turns to lead her in.