ENGLISH.

LITERATURE COURSE.

Aims

1. To arouse an interest in the best that has been written by making students enjoy their English work.

2. By means of this interest in the best, to help develop right ideals of thought and action.

3. To train in intelligent, appreciative reading; viz., to be able to get the writer’s thought and to acquire some standards of judgment as to what constitutes true literature.

Divisions.

1. Literature studied in class.

2. Collateral reading done in connection with the literature studied and under the general direction of the teacher.

3. Reading selected at will from a general list, composed not necessarily of masterpieces, but of wholesome books interesting to young people, the purpose being to encourage reading and to furnish suggestions as to what is worth while.

NINTH YEAR.

First Term.

Literature Studied.

Collateral Reading. Selections from the following:

Method.

1. Introduction to Greek life and thought, especially of religion. (Talks by the teacher and reports by students on topics assigned.)

2. Reading of the most important stories of the gods and older heroes. (Teach in connection with 1 and 2, the use of reference books.)

3. Reading of literature assigned, (1) for interest in story; (2) in characters; (3) in customs of the times; (4) in heroic ideals; (5) for fine lines. Try to recreate the Homeric life and to bring out the elements of permanence.

4. Enough attention to allusions and meanings of words to insure intelligent reading, but no more.

5. Study the “Antigone” broadly for story and characters, and to arouse an interest in the difference between the Greek and modern play, but avoid technicalities here. Develop the ability to find fine lines.

6. Occasional reports, oral and written, on allied subjects; such as, Greek temples, sacrifices, the priesthood, famous festivals, or on collateral reading.

NINTH YEAR.

Second Term.

Literature Studied.

1. Horatius, Macaulay’s Lays. Old English Ballads. Sohrab and Rustum, Matthew Arnold, or Lady of the Lake, Scott.

2. Prose Literature for Secondary Schools. Ashmun.

3. One of the following novels:

Collateral Reading.

(Selected)

Method.

First Group.

1. Read for interest in story and character. Never lose sight of this.

2. Work to develop the pictorial imagination. The method of the drama will help; i. e., set the scene, describe accurately the actors, dress them appropriately, imagine facial expression, tone of voice, gesture and action.

3. Stimulate discussion on characters and motives actuating them.

4. Occasional close work on fine descriptive passages. Image them accurately. Bring out by this effort the obvious differences between poetic and prose diction, but no special study of this here.

5. Connect with the preceding term’s work when possible, by comparison of the heroic ideals with those of the Greeks.

Second Group.

Follow the general trend of the suggestions given in the text. The aim is to arouse an interest in prose devoid of strong story element.

Third Group.

Follow the general directions for the study of the first group. Give simple training in the development of a plot, but keep this subordinate to interest in the story and characters.

TENTH YEAR.

Second Term.

Special Aim of the Term.

To teach to read poetry with enjoyment, and to show that poetical expression is an addition to beautiful thought.

Literature Studied.

First Half Term.

Second Half Term.

Collateral Reading.

Any narrative and descriptive verse rich in ethical and poetical beauty; such as,

Method.

1. Simple presentation of the differences between poetry and prose;

(1) in purpose, (2) in thought (subject), (3) in choice and use of words, (4) in sound.

2. Short drill on selected figures, principally of imagination. Choose only those rich in meaning and within the range of the experience of the class. Work to bring out the gain from the figure.

3. Present the music side of poetry—rhythm, meter, rhyme (including alliteration), and give a drill on various selections to train the ear.

4. “Vision of Sir Launfal.” Study for beauty of thought, ethical content and its application to modern life, and beauty of pictures and figures. Give much attention to the visualizing power. Try to show that the poetic language and form are a gain.

5. Study of other narratives on same general plan. If time permit, study a few lyrics rich in content and poetic beauty, such as Tennyson’s “Lotus Eaters,” or Shelley’s “Skylark;” (1) for thought; (2) for beauty of word usage; (3) for melody.

6. “Merchant of Venice.” Study (1) for what happens—the sequence of events and their relation to each other; (2) for a knowledge of the characters and the motives actuating them; (3) for fine lines; (4) for strongest and most beautiful scenes; (5) for beauty of language, noting scenes richest in poetic expression and its appropriateness; (6) for structure; i.e., the major and minor stories and their relation to each other. Throughout the whole emphasize the fact that the play is a picture of human life; make the characters and the scenes real.

7. “Sesame and Lilies.” Study to stimulate thought and to arouse a further interest in fine literature. Train in the way to read prose; i. e., the finding of the main thought (topic sentence), and tracing its growth in the paragraph; also the necessity for knowing the real significance of the words used.

TENTH YEAR.

Second Term.

Literature Studied.

First Half Term.

Second Half Term.

Training in careful, intelligent reading of prose, expository and argumentative.

Collateral Reading.

Method.

1. “Julius Caesar.” Same general treatment as with “Merchant of Venice,” with more emphasis on study of plot—the conflicting interests, the threads of action, character groups, character contrast, the division in the plot, the important moments—but never emphasize technique at the expense of study of the play as a picture of life. Much memorizing of fine lines.

2. Prose. (1) Find main thought of each paragraph (topic sentence) and trace its growth, noting the method of development when clear; (2) group related paragraphs and note relation of different groups to each other; (3) note introductory, transitional, summarizing and concluding paragraphs; (4) show further the necessity for a clear, definite content for each word and a knowledge of references. Owing to the difficulty of this work, it is well at first for teachers to study with the class, in order to arouse interest in the thought and prevent discouragement. Power to work independently will soon grow.

ELEVENTH YEAR.

First Term.

Literature Studied.

1. Continuation of work of the tenth year with poetry.

2. Study of a novel.

3. Study of the Essay.

Collateral Reading.

Method.

1. Idylls of the King. Study for (1) nobility of thought and ideals of life; (2) beauty of pictures; (3) imagery and word usage; (4) blank verse and noticeable sound effects. Make special effort as in the first half of the tenth year, to develop the imagination and an appreciation of the gain from beautiful expression.

2. The novel. (1) Train in open-eyed reading; the story and the characters should be known thoroughly. (2) Aim to enlarge the experience by acquaintance with new motives and actions. (3) Seek for the underlying ideas in the story and for the working out of great laws. (4) Study of structure as in the drama.

3. The Essay. Continue paragraph work of the tenth year, second half, with new emphasis on kinds of paragraph development. Distinguish between narrative, descriptive, and expository paragraphs, and the methods of development in each. Begin the study of prose style; i.e., rhetorical sentences and their value: studiously long and short sentences, periodic sentences, antithesis and climax; also study vocabulary, especially, in Macaulay, the use of concrete terms and their value. Select striking paragraphs for close work on style, and study to discover method.

ELEVENTH YEAR.

Second Term.

Literature Studied.

American Literature.

1. Poetry. Class work on selected poems of Bryant, Poe, Longfellow, Emerson, Whittier, Holmes, Lowell, Walt Whitman.

2. The Novel.

3. The Short Story. Hawthorne and Poe.

4. The Essay. One of the following:

Collateral Reading.

Method.

The course is to be taught historically, by means of lectures, class study of the most important authors, and much collateral reading. The purpose is to arouse an interest and pride in America’s literary product, therefore the work is taught more broadly than in preceding terms. Preface the course with a brief consideration of what is meant by the term literature, and with a review of simple poetics as a basis for the future study of poetry.

1. Poetry. Select for study poems not usually read in the grammar school, unless the well known have a content of growing interest; examples: Longfellow’s Keramos, Amalfi, Morituri Salutamis; Lowell’s Commemoration Ode; Emerson’s Each and All.

2. The novel. Same plan as in preceding term.

3. The short story. Develop (1) the characteristics of a successful short story; (2) the differences between this and a novel; (3) the various types of short story; (4) some definite standards of judgment for future use.

4. The essay. Read mainly to stimulate thought on life.

5. Make the collateral reading an important part of this course. Have outside reading done on each author studied and on others for whom there is not time for class work. Help toward intelligent, appreciative reading by assigning special topics on the literature read, and give occasional recitation periods to oral reports.

6. Have occasional oral readings from authors not studied in class, especially the best of the later poets. This may be done frequently in five-minute exercises at the beginning of the recitations.

7. Put early into the hands of the students a classified list of the best American authors. Stimulate in every possible way the desire to read.

TWELFTH YEAR.

General Purpose for the Year.

(1) To unify the work of the preceding terms. (2) To give a rapid survey of the whole field of English Literature. (3) To study selected masterpieces characteristic of the various periods. (4) To learn the characteristics of the chief literary types. (5) To read as broadly as possible in each period. Collateral reading here runs parallel with class work.

First term.

Literature Studied.

Collateral Reading.

Method.

In general study broadly to stimulate a desire for further acquaintance with literature, but whenever made possible by the work in hand, review and sum up principles emphasized throughout preceding terms.

Chaucer. Read (1) for a picture of the times; (2) to discover his broad humanity; (3) for his humor and satire; (4) for his literary method. Do not attempt to teach pronunciation or grammar, but insist on smooth, intelligent translation.

The Ballads. Read to find the characteristics of ballad literature. Compare with the literary ballad; such as, The Ancient Mariner, Scott’s Rosabelle, or Rossetti’s White Ship.

Macbeth. Read principally for great ethical lessons. Emphasize character development. Have only so much close study as is necessary for the understanding of the action and characters. Teach as dramatically as possible; imagine stage setting, tone of voice, facial and bodily expression, action—in order to enter into the play. Select passages noticeable for beauty or power of expression and test appropriateness.

Paradise Lost. Study as dramatically as possible. Do no line-by-line study. Get the story, the character of Satan with its mixture of good and evil, the fine pictures and imagery. Mark fine thoughts, also examples of loftiness and sublimity, of color and splendor, and of varying melody.

Comus. Study as an example of the masque, keeping the dramatic element prominent. Set the scenes, imagine stage accessories suggested by the lines; such as, costumes, lights, tableaux, music. Show differences between this and the fully developed drama. Do the same kind of work as in “Paradise Lost” with fine thoughts and beautiful expressions. Show the lyric element here and its appropriateness.

Lycidas. Preface with the reading of examples of the classic pastoral elegy, in order to familiarize students with the pastoral style and so remove some of the difficulties. (See Baldwin’s “Famous Elegies” for translations of Theocritus, Bion, and Moschus). This poem has real difficulties for young students, therefore the teacher must give wise assistance in mastering it, or it will fail to make an appeal. Note the beautiful variation of melody. Show the effect of alliterative and assonantal rhyme and the grouping and alternation of consonant and vowel sounds, with resulting changes in music. At the close of the study of the poem, make a comparative study of it and Gray’s Elegy to show the difference between the personal and the general elegy.

Alexander’s Feast. Study (1) as an imitation of the heroic ode; (2) as an example of effective wedding of sound and sense.

Second Term.

Literature Studied.

Collateral Reading.

Method.

In general, treat the literature studied broadly, to leave in the mind by the end of the term a liking for it and a desire for more. Do only enough minute study to insure intelligent, appreciative reading and to prevent carelessness.

Sir Roger de Coverley Papers. Preface with topical work on the character of the 18th century. (See “Social Life in the Reign of Queen Anne” by Ashton). Read to the class the “Rape of the Lock” as a picture of the times. Study the De Coverley Papers (1) as a picture of the times; (2) for the character of Sir Roger and reasons for its life; (3) for method of character delineation; (4) for method of teaching; (5) for examples of humor and satire; (6) for observations of human nature. Select some expository paper for close study of structure: introduction and conclusion, paragraph development, coherence.

Gray, Goldsmith, Burns. Study to discover characteristic features of the “Romantic Revival,” and survivals of 18th century style. Try to show by Burns’ lyrics and by a return to 16th century lyrics the essential characteristics of the song.

The Vicar of Wakefield. Rapid study of humorous situations, lovableness of the characters, kindliness and gentleness of the author, elements of permanence. Comparison with some later novel.

Shelley, Keats, Byron. Closer attention to the beauties of poetic expression and its relation to the thought: pictures, figures, color and sound words, meter, rhyme effects.

Review by the end of the term the main periods of English Literature, their distinguishing characteristics, and the great names of each, also the main literary types.

PUBLIC SPEAKING.

Prerequisite.

Two years of English. May be substituted for either term of the 11th year or taken in addition to the regular course.

Texts.

Method.

First Half Term.

1. Training in simple parliamentary law.

2. Practice in reading and reciting speeches of others.

3. Original speeches, prepared and extempore, such as, speeches of introduction, nomination, presentation, acceptance, eulogy, farewell, toasts.

4. Reading of oratorical masterpieces, especially modern ones, and class discussion as to strength and weakness, elements of success and failure.

5. An original oration.

Method.

Second Half Term.

1. Study of the theory of argument.

STUDY OF THE DRAMA.

Time.

One-half year.

Credit.

One-half unit.

Prerequisite.

Two years of English.

May be substituted for either of 11th year English courses, or taken with either term of the regular 11th or 12th year work.

Aim.

1. To awaken in the student a taste for that which is essentially good in the drama, both as to content and form.

2. To acquaint the student with so much of the history and technique of the drama as is necessary for intelligent study.

Contents of Course.

Plays studied.

1. Antigone. Sophocles, or Alcestis. Euripides. 2. Everyman. 3. Hamlet. Shakespeare. Twelfth Night. Shakespeare, or some other Shakespearean tragedy or comedy. 4. She Stoops to Conquer. Goldsmith, or The School for Scandal. Sheridan. 5. The Doll’s House. Ibsen. 6. Trelawney of the Wells. Pinero, or Sweet Lavender. Pinero, or The Cabinet Minister. Pinero. 7. The Land of the Heart’s Desire. Yeats.

Collateral Reading.

Selected plays from the following:

Early English Plays:

Outline of Class Work.

1. Origin and development of drama among the Greeks; study of a play from the period of their highest literary achievement.

2. Brief consideration of the forerunners of the modern English drama; (1) miracle plays, (2) moralities, (3) early English farces, (4) pre-Shakespearean drama. Examples of types (2) and (4) studied.

3. Shakespearean Drama: study of one each of the comedy and tragedy (those not studied in the regular English courses).

4. Brief review of the history of the drama from the beginning of the 17th to the end of the 18th century. Study of one of the best types of 18th century comedy.

5. Important phases of 19th century drama considered. Study of a transition type.

6. The contemporary drama; its broad range as to both matter and manner opening great possibilities—of achievement for the dramatist, of education for the audience.

Method.

In accordance with the aims as stated, the technical side of the work will, for the most part, be presented by the teacher in the form of concise notes, in order to leave as much time as possible for direct, appreciative study of plays.

The collateral reading is to be used as illustrative material and for comparison.

Scenes will be studied and presented by students in the classroom, with occasional public (school) presentations. Students realize dramatic values by this means.

Toward the end of the term, students will be encouraged to attempt the construction of original plays or dramatization of parts of novels and stories.

WRITTEN COMPOSITION.

The work in composition is so planned as to draw help from the literature course, but is not based upon it. One period a week in all classes except Public Speaking and Dramatics is devoted to the work.

General Suggestions.

1. Work from the whole to the parts; that is, begin with the whole composition, and work to the paragraph and sentence.

2. While emphasizing in different terms some one particular kind of composition, do not limit the work wholly to that form.

3. Make the course cumulative; that is, refer to and emphasize, wherever possible, principles learned in former terms.

4. In all work, oral and written, whether formal compositions, examinations or recitations, develop a feeling for organization and arrangement of thoughts.

5. Encourage expression of the student’s interest, but try to guide and broaden it. Seek to develop the power to observe accurately; also to awaken the imagination.

6. Try constantly to enlarge the student’s vocabulary.

7. Insist on correct form, neatness and promptitude. Part of the work of High School English is to form correct habits.

8. Make all criticisms constructive. Have as much personal conference as possible.

NINTH YEAR.

First Term.

Special Work.

1. Composition, chiefly narrative, but no special emphasis on narrative as a form of discourse.

2. Punctuation.

3. Letter-writing.

4. Review of grammar.

Material.

Reproductions of parts of literature read, reports on outside reading, imaginative treatment of subjects suggested by the literature lesson, personal experiences. The following will suggest possible subjects: New nature myths, new hero stories, additional adventures for Ulysses, stories illustrating his various traits of character, new endings to old stories, possible settings for Homeric stories, dialogues between Homeric characters, descriptions of scenes from the Iliad from the point of view of an eye-witness, etc.

Method.

1. Teach from the beginning correct form and habits of neatness and care. While emphasizing these, have most of the work reproductive, in order not to kill spontaneity.

2. Emphasize letter-writing toward the end of the term when the interest has been aroused in other forms of writing. Select for practice only such letters as young people would be apt to write.

3. Begin systematic training in punctuation early, and continue with the composition work throughout the term. Teach the use of the comma, quotation marks, especially in dialogue, and the terminal marks. Teach by the logical rather than by the formal method; that is, lead to the examination of the thought in sentences and to punctuation in accordance with it.

4. In review of grammar, use Hitchcock’s “Enlarged Practice Book.” Select chapters treating of the general structure of a sentence, the nature, kinds, and uses of phrases and clauses; also the exercise on common errors of speech. Adapt this work to the special needs of each class. One day a week will be taken for drill if necessary, or it may be omitted, if classes are well prepared.

Second Term.

Begin the study of separate forms of discourse. Teach what rhetoric is, and the reasons for studying it.

Special Work.

1. Narration, with its involved problem of structure.

2. Continued drill on punctuation.

3. Continued drill in grammar if needed.

Method.

1. Begin with narration. Teach during the term the essentials of a successful narrative.

a. Action (something happening). b. Point (an idea, a climax). c. Unity (it must hang together). d. Style (it must be interesting and entertaining).

Emphasize this kind of work while teaching narrative poetry and prose (the novel), but do not draw subjects from the literature lesson. From this term on, composition work should be original. (See Sampson & Holland’s Composition and Rhetoric for excellent suggestions on teaching narration).

2. While studying Ashmun’s “Prose Literature for Secondary Schools,” follow the general line of composition work there suggested.

3. Punctuation. Teach the use of the semicolon, colon, dash, and exclamation point, and continue drill of preceding term.

4. Simple teaching of paragraph structure; that is, the grouping of similar thoughts together by their relation to a central idea or topic.

5. Toward the end of the term a brief review of letter-writing.

TENTH YEAR.

First Term.

Special Work.

1. Description, with involved problem of diction.

2. Review of letter-writing.

Method.

1. Begin with comparative work in two kinds of description: scientific and literary; that for information and that for enjoyment. Develop this by the primary essentials of descriptive writing:

a. Point of view. b. Selection of details. c. Order and grouping. d. Objective and subjective character. e. Appropriate diction.

2. Notice of differences will involve a study of diction: synonyms, especially adjectives; figures of speech (simile, metaphor, and personification); words of color, sound, motion, shape, concrete terms.

3. Use as illustrative material examples from scientific writing, text-books, books of travel, novels, verse. Whenever possible, make the literature lessons serve as models, but do not draw from them for subjects. Have all composition original.

4. Later in the term return to narration, and combine with it description of scenery and character.

5. Throw occasional compositions into the form of the friendly letter, using some of the best modern letter writers, such as Stevenson, as models.

TENTH YEAR.

Second Term.

Special Work.

1. Exposition, with involved problem of clearness and order.

2. Word-work, with the purpose of enlarging the vocabulary and developing accuracy in the use of words.

3. Review of letter-writing.

Method.

1. Connect with the preceding term’s work by showing that exposition is description which explains; which shows the general and the common rather than the particular and the individual; which omits the personal.

2. Develop the following special points:

Arrangement of material.

A. Gathering of ideas, either one’s own or those from standard authorities. If the latter, give directions on note-taking. B. Selection of material, according to scale of treatment. C. Making of outline.

a. Key sentence or announcement of subject. b. Grouping into leading and subordinate points. c. Conclusion, with summary where advisable.

Development of material (Paragraph making).

Do no formal work with the paragraph except to teach the importance of the topic sentence as a means toward unity and therefore toward clearness. Insist on a clear topic sentence for each paragraph. Permit any means of development that naturally suggests itself. Encourage the attempt not only to begin paragraphs well, but to end them well.

3. Word-work. Give regular exercises once a week for the first half term on work tending to develop an interest in words and accuracy in their use; such as, exercises in defining, in synonyms (select only such as are apt to be misused), on words with interesting history. In defining insist on correct form and clear distinctions. Vary this work and select with care, so that it will be vital. It is valueless if formal and perfunctory.

4. Review briefly business letters, and such social forms (invitations, acceptances, regrets), as high school students will be apt to need.

ELEVENTH YEAR.

First Term.

The work of the Eleventh year is cumulative, continuing practice in narration, description, and exposition, with new emphasis on style.

Method.

1. While studying the “Idylls of the King” and “Silas Marner,” review narration and description. Insist on the observance of principles learned in earlier terms, but try to arouse an interest in style as a means of increasing effectiveness. Emphasize the difference between poetic and prose style, and the limitations of each. Note the use of figurative language in modern prose style. Try to develop the power of suggestiveness. Study the descriptions of place and character in “Silas Marner” from this point of view, and try to interest the class in attempts at imitation.

2. While studying the essay, review exposition. Insist on attention to points learned in the Tenth Year. Carry on paragraph development, with more emphasis on various kinds of paragraphs; as, transitional, summarizing, introductory, and concluding.

3. Give some attention to prose style, especially if Macaulay is being studied. Show the value of various rhetorical forms; such as the balanced sentence, loose and periodic sentences, studiously short sentences, climax, rhetorical questions, also the value of concrete terms. Try to interest students in imitating various styles. Frequent short papers, in each of which some definite point is being worked for, will bring better results both in interest and achievement than less frequent long ones.

Second Term.

Special Work.

Continued review of narration, description, and exposition, with emphasis on style.

Method.

1. Make the review of the first two forms lead up to the writing of a brief short story. Teach this at the same time the short story and novel are being studied. Begin with writing of various settings, introductions, descriptions of person and character, incidents introduced for various purposes, bits of dialogue, and lead up to the complete story.

2. While reviewing exposition, draw subjects from questions of present interest, either local or general, and occasionally from literature work. Reports on collateral reading may be used to teach the writing of a simple, interesting book review, that would lead others to read. Choose subjects here that will not lead to copying other peoples’ ideas. Reject empty, glittering generalities.

3. Have at least one longer piece of exposition this term than has been previously written, preferably on subject of public interest. Correct topical outline personally before the paper is written, showing how it may be improved.

TWELFTH YEAR.

First Term.

Special Work.

Argumentation with involved problem of force and tact.

Method.

1. Study the general nature of argument, the use of exposition in argument, the difference between inductive and deductive reasoning, the difference between assertion and proof, attack and refutation. Be practical and not technical in this work. Choose subjects calculated to stimulate thought on topics of the day; draw as largely as possible from school life in order to demonstrate the value of the work.

2. Emphasize the value of structure here as well as in pure exposition.

3. Practice in writing of speeches, in whole or in parts; openings, refutations, conclusions, appeals to the feelings.

4. Show the value of appropriate style.

5. Vary the special work of the term by occasional papers on topics suggested by the literature work, provided they are of live interest and such as to provoke discussion.

Second Term.

Special Work.

1. Review of the different forms of writing taught throughout the course, to test power and to unify impressions.

2. Four longer papers than heretofore, one of each kind of discourse.

3. Briefer exercises are needed.

ORAL COMPOSITION.

Definite practice in oral composition extends throughout the entire course. At least once every five weeks each student talks to the class on some subject previously prepared. Increase these exercises whenever time will permit.

General Directions.

1. Have students stand before the class, free from desks or other external support.

2. Subject matter should be prepared, but not memorized. Students may use a small card with headings, but no other notes.

3. The length of the talk may vary from two to three minutes in the Ninth Year, to five of six in succeeding terms, as ideas and ease increase.

4. Material should be drawn from subjects outside the literature lessons. Let the student’s interest determine the subject. Talks may be reproductions of newspaper or magazine articles, of parts of books, or accounts of personal experience, but the wording must be the student’s own.

5. Teachers should emphasize constantly the same principles or order and arrangement of ideas as in written work. The aim is not mere talk, but effective speech.

6. Emphasize interest of the audience as a test of success. Try to arouse an ambition to win this. Teach the gain to a speaker from erect, free posture of the body, ease of manner, command of the audience with the eye, clear enunciation, pleasant voice.

7. Criticism must be sympathetic and kindly, even when corrective. Above all try to arouse ambition to succeed and the will to persevere.

NINTH YEAR.

Anecdotes, stories read, reports on topics connected with Greek life may all be used. The talks may be varied by readings; for instance, selections from Stephen Phillips’ “Ulysses,” read in parts; an act of “Antigone,” or some other Greek play; poems illustrative of the work being studied, or similar work bearing no relation to the literature lessons. The aim is to develop ease and self possession in standing before the class, and interest in trying to hold an audience.

TENTH YEAR.

Material.

Accounts of interesting things seen or done; descriptions of famous events, places of men; accounts of anything of current interest. Try by the search for live material to broaden the students’ interests and to make them more generally intelligent. This may be helped by having suitable subjects for talks submitted every week, even although time will not permit practice in talking that often.

ELEVENTH YEAR.

Material.

Continue the work of the preceding year, with greater emphasis on subjects of present interest. Seek to encourage intelligent reading of newspapers by reports on current events. More frequent practice may be obtained by sometimes combining the oral composition work of the second term with the literature work. Reports on authors and works read outside of class, literary pilgrimages to interesting places in America, occasional readings may all be utilized.

TWELFTH YEAR.

Material.

Every Monday throughout the year have reports at the beginning of the period, (1) on events of importance of the preceding week outside of the United States; (2) in the United States outside of California; (3) in California, especially local events of importance. Insist on discriminating selection and judicious condensation. Have subjects of importance expanded into special talks. Use also throughout the year reports on topics suggested by the literature work.