Reading: How to Teach It

by Sarah Louise Arnold

And even the tall sweep, high aloof,

In its slant splendor seemed to tell

Of Pisa’s leaning miracle.”

To read,—that is, to get the meaning of these lines; or, if one reads aloud, to get and to give the meaning. One who truly reads “Snow-Bound” learns to see the scenes which Whittier so beautifully describes; to see them as he saw them, with tender affection, and to interpret the deeper meaning of the lines of “homely toil and destiny obscure.”

Manifestly this involves much. On the surface, and first attracting the attention of the teacher, appears the obvious necessity of knowing the words at sight. Familiarity with the forms of the words used is indispensable to reading. This involves knowing the sounds of the words, while the power to pronounce new words readily calls for knowledge of the laws of English pronunciation.

In the minds of too many teachers of little children, such mastery of word pronunciation is held as reading. But this is a grievous error, which leads to narrow and mechanical work, and obscures the high purpose of real reading. Reference to the definition of reading, and a study of the selection from “Snow-Bound,” will show us the proper value of this achievement and its relation to true reading. The words are the vehicle of thought, a means to an end. Their mastery is indispensable to reading, but the reader must compass, not the single word-speaking, but the meaning of the related words which express the author’s thought. Knowledge of the meaning of the words used, and especially the meaning of the words as Whittier uses them, is necessary to a clear understanding of the poem. The reader who would understand the poem must know something of farm life—the sty and the corncrib, the garden wall, the wellcurb, the sweep, and the other accessories of the farm which Whittier names or describes. Plainly, too, his knowledge must extend further—to a Chinese roof, and Pisa’s leaning miracle. To such knowledge, observation of common life must minister, coupled with the study of books and pictures. In other words, the reader interprets Whittier’s “Snow-Bound” by virtue of his own experience, reënforced by the experience of others as written down in books, or pictured with brush or pen. To the formal word-mastery, then, must be added study of the meaning of new words, or recalling such experience as explains the old. The content, as well as the form, of the word must be studied.

Added to such study, is the general training which gives us power to picture the unknown, interpreting a new scene through its relation to our old experience. The ready and trained imagination easily pictures the scene which the words conjure before the mind—makes real the homestead, snowbound and comfortfilled. Reading may be so taught as to develop this power, which takes hold on things unseen. No careful teacher omits such training.

Here, then, are different phases of teaching reading: mastery of the words as to form and sound; explanation of the meaning of new words, through observation or reading; lessons which tend to develop power of imagination.

The young child who leaves his home and his play to enter upon the life of the school-room finds a new world awaiting him, with manifold new experiences. Hitherto he has romped and rambled to his heart’s content. All his friends and playmates have in turn been his teachers, albeit theirs has been an unconscious tuition. His lessons have been in the line of his desires, or suggested by his natural environment. Longfellow pictures the little Hiawatha in the arms of his first teacher, the loving old Nokomis: