LB LIBRARY OF CONGRESS. Chap. Copyright No. Shelf..LS..L^ 75 ^5- UNITED STATES OF AMERICA. CoPYRir.HTED, 1896 BY Adelhkrt E. Kellorg AND Milton E. Blanchard. ENGLISH LITERATORE IN THE NINTH GRADE. WORK SUGGESTED FOR THE NHTH GRADE IN CONNECTION WITH LONGFELLOW'S " EVANGELINE." - SEC. I. GENERAL WORK: THE POEM AS A WHOLE. Read the poem through in class. Object — familiarity with the story; interest and enjoyment in the poem itself, uutram- meled by didactic exercise, analysis, or any form work what- ever. Teacher to give freely explanations of matters relative to history, manners, customs, superstitions. In this first reading, attention may be called, in passing, to any of the grand or subordinate divisions (see "General Analysis," Sec. VI. c); some explanation of the metre should also be given, together with practice in .scansion, to secure a more melodious reading. All words likely to be new to the pupils should be explained or looked up. The similes, the more prominent metaphors and personifications, should be noticed and explained in a general way. The pupils should mark these figures of speech on the margin of the page for future reference and study (see Sec. VIII., "Figures of Speech "). Readings by members of the class, in connection with the text (see Sec. IV. A, " Readings "). Short Essays by members of the class (see Sec. III. a, " Essays "). Passages *The lines of work and the methods given in this pamphlet are by no means limited to "Evangeline," or even to the Ninth Grade. Many, if not most of them, are applicable to the literature, both prose and verse, studied in the earlier grades; t'. g., " The Courtship of Miles Standish " and the " Legend of Sleep}' Hollow" in the Eighth Grade, " Rip Van Winkle" in the Seventh, and "Enoch Arden " and " Macaulay's Lays" in the Sixth. The minimum of work recommended on "Evangeline" is defined at the end of the pamphlet. ENGLISH LITERATURE Committed to Memory (see Sec. IV. B, "Memory Selec- tions")- Questions for Discussion (see Sec. II.) It will readily be seen what essays and discussions should be had during the progress of the first reading, and what must be left till afterwards. It would be well to have the pupils mark in the margins the references to customs, dress, and supersti- tions, as well as the flowers and birds mentioned by the author, so that these things can readily be referred to. The date of the action, the locality of the scene, also the charac- ters, principal and subordinate, should be kept in mind. [Note — Attention given, during the first reading, to the elements, both poetic and dramatic, which serve to unite all the parts of the poem into one coherent whole, may do much to counteract the narrowing and fragmentary tendencj^ of the later analytical work and study of details generally. Some of the following threads of unity may be noticed : Unity of poetic form, including {a) metre, (b) blank verse, and {c) symmetry of parts, — Introduction, Part I., 5 Cantos; Part II., 5 Cantos ; and Conclusion, same length as Introduction. Unity of plot — the narrative of the fortunes of one central character, about whom the others revolve. From this unity of plot arise the subordinate unities of: Time — the compass of one life ; Place — the spots visited by the central character ; Tone — the pervading tone of chastened melancholy, struck as a keynote in the Introduction by such words as "sad," "dis- consolate," "wail," sounded again and again in the course of the poem, and repeated in the Conclusion ; Language — employed to sustain the tone and to give harmonious development to the theme ; Emotions — revealed in the poem or aroused in the reader.] SEC. II. QUESTIONS FOR DISCUSSION AND RESEARCH. Introduction : What is the tone of the first six lines ? What in the text gives it that tone ? In what lines is the real theme of the poem announced ? (11. 20-54.) Select those IN THE NINTH GRADE. expressions that give an idea of the richness of the country ; the climate ; the industry of its inhabitants ; their piety. Why does the poet represent an evening scene rather than a morning or noontide one ? (1. 54.) Is envy the vice of republics? If so, why? (11. 6r, 104, Seq.) What does the poet make most prominent in his description of Evangeline — beauty of form and face, or charm of manner and spirit ? Note the climax running through lines 65, 70, 71, 78. The mother of Evangeline is not mentioned. Is there any reason for that ? (11. 148-267.) Why should the coming winter be represented as likely to be severe ? In the description of autumn, what is noticeable about the sounds ; the light ; the movements ? Do these things harmonize ? What then, is the prevailing tone in the description ? For what does the con- versation of Basil and Benedict about the English prepare us, and what differences in character between the two men does it show us? (11. 268-523.) In what particular do the Notary and Father Felician resemble each other ? Benedict and the Notary both take a favorable view of the intentions of the English. Are their grounds of confidence the same ? With what does the betrothal feast, with its joy and merry-making, contrast ? What is gained in effect upon the reader by intro- ducing this scene at just this place ? Why does Basil protest in the church against the tyranny of the British, rather than Ben- edict ? Which has the greater influence over the Acadians, Basil or Father Felician? Why? (11. 499-523.) What new qualities of character are disclosed in Evangeline ? What does the poet gain by representing the early life of Evangeline as so peaceful and happy? (11. 524-665.) What effect is produced by the reference (531,532) to the children ? What diflferent things does the poet introduce to heighten the distress of the scene at the seaside ? What incident forms the climax ? Why must Benedict die ? Why should not the story close here ? Is there any historical justification for the deportation of the Acadiaos ? These questions are suggestive and illustrative merely. It was thought best not to make any formal classifi- cation of them. They range frorn those quite textual in ENGLISH LITERATURE character to those that call for some recognition of the poet's art in construction. The day's reading should be guided by questions specially framed to direct attention to significant points in the text ; only in this way will the conditions of each class be met. SEC. III. ESSAY WORK.* (a) The Author and His Subject. — i. Sketch of lyongfellow's Life; references: "Glimpses of Longfellow in Social Life," Century Magazine, April, 1886 ; also life of Henry W. Longfellow by F. H. Underwood. 2. The Land of the Acadians (geographical and descriptive); references : "Zig-zag Journeys in Acadia," Chap. VHL; ''Nation," Vol. 43, p. 248, "Acadia." 3. The Acadians in History; references : Littell's Living Age, Vol. 44, p. 51 ; Harper's, Vol. 69, p. 887. 4. The Acadians in Louisiana ; references : Scribner's, Vol. 19, p. t,St, ; " South and West," p. 75, by C. D. Warner. 5. How the Poem Came to be Written ; ref- erences : " Life of Henry W. Longfellow," edited by Samuel Longfellow, Vol. II., pp. 70-73. (This life contains the diary mentioned in Sec. IV. A.) The growth of the poem may be traced in the diary, Vol. II., pp. 25, 29, 3S, 63, 66, 67, 75, 76, 80, 81, 82, 83, 85, 86, 95, 96. (d) A series of essays, covering the poem, may be read in succession by different members of the class : — The Village of Grand-Pr^ ; The Home of Evangeline ; The Youth of Evan- geline ; An Autumn in Grand-Pre ; The Betrothal ; The Scene at the Church ; The Embarkation ; The Acadians in Exile ; Trip Down the Mississippi ; At the Home of Basil ; The Journey to the Northwest ; Evangeline at Philadelphia ; Gabriel Found ; The Superstitions of the /Vcadians ; Home Life Among the Acadians ; Character of Father Felician ; *See pp. 21-25 of the pamphlet, " English in the Secondary Schools," by Professors Giyley and Bradley, to be had of the Recorder of the Faculties, Uuiversit}- of California, Berkeley. IN THK NINTH GRADE. Character of Basil ; Character of Benedict Bellefontaine ; Con- trast between the Characters of Basil and Benedict. Besides these essays by individuals, the following Summaries may be prepared by the entire class : — Summary of Part First of the poem (the story concisely retold); a similar summary of Part II.; summary of the whole poem — chiefly an exercise in reducing the last two to a smaller scale. (c) A few subjects for compositions based on the readings (Sec. IV. A) may be added : Prairie Life as Described by Irving (or lyongfellow); What Longfellow Has Said in Other Poems on Topics Mentioned in "Evangeline," e. g., Evening Scenes, and Eongfellow's " Blacksmiths " (group i); " King Robert of Sicily " — the Story and Its Lesson to Us, also Life and Its Duties, as Described by Longfellow (group 2); Miles Standish and Basil the Blacksmith Compared, What was Hiawatha's Mission on Earth? A Paraphrase of the Spanish Jew's Tale, and the Plan of the " Tales of a Wayside Inn" compared with thatof Whittier's "Tent on the Beach" (group 3); Glimpses of Longfellow caught from his poems, and Longfellow, the Children's Poet (group 4); A Poet's Description of Autumn, or, of a Rainy Day, or, of a Night from Sunset to Sunrise" (group 5«); What a Ship May Mean, also Thoughts and F'eelings of a Poet in the Presence of the Sea (group 5 d). SEC. IV. READINGS AND MEMORY SELECTIONS. (A) Readings in connection with the poem may be divided into two classes : I. In general, poems or prose from any source, dealing with sentiments and scenes allied to those in " Evangeline ; " e. g., Bryant's "Prairies," Irving's "Astoria" and "Tour on the Praties " (descriptive portions), and the poems of group I, below. Some of these selections may be read to the class by the teacher, others by different pupils ; still others may be read at home, reported upon, and discussed in class. 8 ENGLISH LITERATURE Well-chosen passages from Longfellow's diary will serve to bring the real man nearer to us. 2. Readings of the second class may be grouped as follows (the pages refer to the "Household" edition of Longfellow's poems): Group i- — Poems suggested by passages in " Evange- line." "The Village Blacksmith," p. 36 of the "House- hold" edition, to be read with 1. 115 of "Evangeline"; "The Day is Done," p. 87, with 11. 172-198; "Harvest Moon," p. 382, with 1. 348 ; "Flowers," p. 4, stanza i, with 1. 352; "Curfew," p. 94, with 1. 354; "The Tides," p. 367, with 1. 575; "Moonlight," p. 409, with 1. 102S ; " Occult- ation of Orion," p. 84, with 1. 1043; "Fata Morgana," p. 228, and " Elegiac Verse," \^I., p. 410, with 1. 1114; " Hia- watha," Sec. XIII., p. 172, with 11. 1213, 1214. Group 2. — Poems dealing with human character, and ques- tions of life and death. "Two Angels," p. 215 of the "Household" edition; "Village Blacksmith," p. 36; "Haunted Houses," p. 214; " Resignation," p. 129; "The Arrow and the Song," p. 90; "The Two Rivers," p. 383; " Haroun al Raschid,"' p. 378; "The Golden Milestone," p. 220; "The Builders," p. 130: "Meeting," p. 229; "Psalm of Life," p. 2; "Reaper and the Flowers," p. 3; " The Grave," p. 20; " God's Acre," p. 37 ; " Ladder of St. Augustine," p. 212 ; " King Robert of Sicily," p. 243. Group 3. — Tales in Verse. "Hiawatha," p. 141; "Court- ship of Miles Standish," p. 191 ; " Tales of a Wayside Inn," p. 232 (the last being in three series). Group 4. — Autobiographical. "Footsteps of Angels," p. 4 : " To the River Charles," p. 38 ; " The Bridge," p. 85 ; "The Children's Hour," p. 225; "From My Armchair," p. 395 ; " The Haunted Chamber," p. 228 ; " The Old Clock on the Stairs," p. 89; " Courtship of Miles Standish," p. 191; "My Lost Youth," p. 219; " Morituri Salutamus," p. 354; " My Books," p. 414. IN THE NINTH GRADE. Group 5. — Nature poems, (a) General. — '' Afternoon in February," p. 87 ; " Hymn to the Night," p. 2 ; Prelude to " Voices of the Night," p. i ; " Flowers," p. 4; "An April Day," p. 6; "Autumn," p. 7; "Woods in Winter, p. 7; " Sunrise on the Hills," p. 8 ; " The Spirit of Poetry," p. 9 ; "The Rainy Day," p. 37; "Rain in Summer," p. 81; " Occultation of Orion," p. 84; two sonnets ("Evening Star" and "Autumn "), p. 91 ; "Daybreak," p. 223; "En- celadus," p. 226 ; " Snowflakes," p. 227 ; "A Day of Sun- shine," p. 227 ; Prelude to Part Second of "Wayside Inn," p. 272 ; "Night," p. 401 ; "The Poet's Calendar," p. 403; " Moonlight," p. 409. (d) Sea Poems — " Building of the Ship," p. 122 ; "Wreck of the Hesperus," p. 27; "Seaweed," p. 86; "Secret of the Sea," p. 126; "Twilight," p. 127; "The Eighthonse," p. 128; "The Bells of Lynn," p. 320; "Milton," p. 365; "The Sound of the Sea," p. 366; "The Tides," p. 367; " Dedication of Ultima Thule," p. 394 ; " Elegiac," p. 398 ; " The City and the Sea," p. 407 ; " Sir Humphrey Gilbert," p. 127 ; " The Phantom Ship," p. 212 ; " Ballad of Carmil- han," p. 2S0; "Sagaof King Olaf," XHI. and XIV., p. 256. (B) Meviory Selections.— \J\.nes 1-19 ; 52-57; 78-81; 326-9; 351-2; 382-6; 482-6; 497-501; 605-12; 682-92; 720-7; 778-84; 852-4; 1035-44; 1089-1105 ; 1106-15; 1150-7; 1245-51; 1270-5; 1345-80; 1385-9. SEC. V. PRECIS WORK. {a) A Rtinning Outline is made up of broken jottings— an informal mixture of words, phrases, and short sentences, entire or decapitated — separated from one another by dashes. It affords practice in the separation of principal from minor thoughts, and is a good preliminary to the Smmnary and A bstract. lO ENGLISH LITERATURj; {b) A Summary (see Third Reader, p. i8o) is a much con- densed resume of the chief points of the original, being only from one-tenth to one-fifteenth its length. Repeating none of the conversations in the original, and thus employing only the third personal pronoun, it aims to give, from an outside stand- point, merely a connected account of the narrative, such as a reader might do when requested to "tell the story." The Summary usually employs only the "incomplete" tenses, especially the present. {c) A Stcmmary by Stan::: a- Sentences is somewhat stricter. Being limited to a single sentence to each stanza, it is a severe test of the power to penetrate to the central thought of the stanza, and then adequately to represent that thought in a single, well-turned sentence. Sample Summary by stanza- sentences of Canto I. (four stanzas): — Near the Basin of Minas, in the midst of fields of corn and flax, stands the little Acadian village of Grand-Pre, with its simple people dwelling together in the love of God and man. Not far from the village lives Benedict Bellefontaine, its wealthiest farmer, a man of seventy years, and with him his daughter of seventeen summers, the gentle and beautiful Evangeline. The .strong, oak-timbered house of the farmer overlooks the sea, while the well-filled barns on the north protect it from storms. Here Evangeline lives, and is visited by numerous suitors, of whom Gabriel, her schoolmate and childhood's companion, alone is welcome; and, now that they are grown, they are soon to be married. (1465 words reduced to 117 ; scale, 12^2 : i-) (d) The Abstract, in its ideal form, should be an accurate mmiature likeae.ss (from one-fourth to one-eighth the length) of the original, such as the author himself would have made, had he written his story in prose of much smaller compass. It will be a smooth, unbroken condensation, omitting minor details and all expressions not entirely necessary, but retain- ing the form of speech wherever conversation occurs, and, as far as possible, preserving the style. Abstracting well done in connection with a good author, is next in value to good original composition as a means of training. Sample extract IX THH NINTH GKADIC II of Canto II., 11. 199-234: The farmer sat by his fireplace, watching the flames, which threw huge shadows behind him, and glanced back from the pewter plates on the dresser as from shields. Sitting thus, he sang fragments of the songs of his forefathers, the clock's tick and the hum of Evangeline's spinning-wheel filling the intervals of his singing. Then foot- steps approached, the door opened, and Basil and Gabriel entered. "Welcome, Basil!" cried Benedict; "take thy accustomed seat, and light thy pipe, letting th}'- ruddy face shine through the smoke w"reathes." Smilinglj' Basil replied, " Benedict, thou art ever joking, even though others are filled with gloomy iorebodings." (403 words reduced to loi ; scale, one-fourth.) SEC. VI. TOPICAL ANALYSIS. (a) Stanza-Topics may be made out ; their fitness is a test both of the unity of the stanza and of the scholar's perception of its central thought; e. g., Canto I. : i. The Village; 2. The Bellefontaines ; 3. Evangeline's Home ; 4. Evangeline's Suitors and Childhood (betraying a slight lack of unity in stanza 4). [U) Topical Analysis of Canto I., Part I., in Tabular Form. Canto topic, Evangtl- ine's early life (11. 20- 147) rTIie Villasje (11. 20 57). The home of Evangeline (11. 58-104). ...\ family. ^""^""^""-''■•{dfslant houses pnatroiis aiul maidens vinagelife fe^^ ^^'>^-" ( village customs homestead... Evangeline's suitors ( 11. I iOj-147) ( father '( daughter / situation of house J surroundings, near and '1 distant { barns unsuccessful .suitors ^parentage and station Gabriel ^companionship with Kv. (their present relations ( in school I at play 12 ENGLISH LITERATURE (c) Gentnal Analysis o{ ihe Poem. 3- III. Introduction. The Home of Kvangeliiie. Village of Grand-Prt;. The laniily of Evaiigelitie. a. Description of Benedict B. h. Description of Evangeline. The house and farmyard. Childhood of Evangeline. Evangeline's suitors. Gal riel and Evangeline. The Betrothal. The season and its occupations. The evening scene at the farm- house. Evangeline alone. The Day of the Proclamation. The feast of the betrothal. Scene at the church. The evening; Evangeline awaiting her father. Evangeline's desolate home. 3. VII. 3- 4. 5- 6. 7. 8. VIII. I. The Transportation. Assembling at the seaside. Scene on the shore. Burning of Grand-Pre. Death and burial of Benedict. The Search. Scattering of the Acadians. Evangeline's ronstancv. Trip down the Mississippi. Stay at Basil's home. The trip Northwest. At the Indian Mission. The lodge in Michigan. Further wanderingsofKvangeline. Resignation. The Acadians in Philadelphia. Evangeline a Sister of Mercy. Gabriel Found. The pestilence in the city. Sabbath Day in the hospital. Meeting and recognition. Conclusion. The large divisions may be discovered during the first reading, subdivi.sion left for future work. SEC. VII. PARAPHRASE WORK. Much so-called paraphrasing is worthless as a laiij^uage exercise. Changing the order of words and phrases, labor- iously substituting synonymous expressions, so-called, is not paraphrasing. It is more often an effective drill in looseness of expression and lack of precision. The first pre-requisite is thorough possession of the thought of the passage. Then the directions should be— clothe the thought in your own language : so express it that your knowl- edge of the exact thought of the author may be apparent ; give all the thought, even to the "reading between the lines." At first, a line or two is all that should be taken for para- phrasing, and the thought thoroughly developed by question- ing ; as, for instance, 1. 140: "Thus passed a few swift years, and they no longer were children." To what does thus call your attention ? Were the years swift? What was really swift? Who are referred to by "they"? If they were no longer children, what were they? etc. The result may pos- IN THE NINTH GKADE. I3 sibly stand thus: "In the childish sports just described, a few years seemed to pass swiftly by, and Gabriel and Evan- geline were now grown up." It will be noticed that in this instance no attempt has been made to change words merely. The following passages are indicated as quite suitable for paraphrase: 11. 353-81; 613-23; 769-89; 871-83; 1027-5S ; 1180-90; 1 116-26; 1170-87; 1298-1308; 1343-75. SEC. VIII. FIGURES OF SPEECH. Some special study of the similes, metaphors, and the few noticeable personifications that have been selected during the general reading may be had along the following lines: i. Source of figures, as nature, rural life, the sea, involving allusions to the Bible, etc. 2. Harmony of the figures — gen- eral, with the character of the poem ; special, with the imme- diate situation, etc. {iddc, 11. 619, 620, 1159, 1160, and others). Of figures of association, the metonymy and synecdoche may be recognized. While clearly fixing the distinctions, fail not to show that one principle — similarity — underlies the simile, metaphor, and personification ; that a certain relation- link, not similarity — is present in metonymy and synecdoche. Occasionally ask the pupils to suggest original figures appli- cable to the situation, and discuss their fitness. The following general form for analysis of figures may be helpful : 1. Give or indicate the text involved. 2. Give the same in literal language. 3. Name the figure, and the imagined or figurative part. In certain figures this may consist in giving the imagined thing, as illustrated below ; in others, in naming the figura- tive word or words. 4. Explanatio7i. This may include different perceptions, varying according to the power of the class and the kind of 14 ENGLISH LITERATURE figure, as, point of similarity. What suggests the imagined term to the mind ? What is gained by the use of the figure, ;tc.? ILLUSTRATION. 1. Text. * * * " Flashes of flame were thrust through their folds and withdrawn, like the quivering hands of a mar- tyr." (11. 619, 620.) 2. Literal. Flashes of flame, now and then, were seen darting through the masses of overhanging smoke. 3. Name and Imagined Part. (The figure is a simile.) The hands of a martjT burned at the stake, seen from time to time through the smoke, as they are raised aloft in prayer or agony. 4. Explanation. The fact that both objects appear and vanish quickly amid folds of smoke, suggests the comparison. The idea of martyrdom accords with the horror of the situa- tion. The Acadians were, in a way, martyrs, etc. SEC. IX. GRAMMATICAL AND WORD WORK.-i^ TRANSPOSITION. The grammatical questions on the following text may serve to illustrate these principles: As far as possible, connect grammatical work with literary text ; associate grammar with the meaning, or logic, of the text ; develop inductively the grammatical forms ; lead the pupil to see relations before giv- ing him their names. (It must not be inferred that these questions should all be asked on one occasion, or that they are all Ninth Grade questions. It is true, however, that the ■■'The word work and study of sentence-relations, both logical and sjutactical, indicated in Sees. IX. and X., are of the utmost import- ance in giving the pupil a perception of the value of each word in its place, as well as a comprehension of the force of each sentence as a whole. IN THE NINTH GRADE. 15 power quickly to recognize clauses as distinct statements, and then to give the relation of each in the sentence, is often poorly developed in scholars analyzing quite long compound and complex sentences with some glibness ; in such cases the work is, in fact, unsound and mechanical. Different text affords opportunity to bring out various points, and it is well to push, or at least to keep prominent, one thing at a time.) " Multitudinous echoes awoke and died in the distance, Over the watery floor, and beneath the reverberant branches. But not a voice replied; no answer came from the darkness; And when the echoes had ceased, like a sense of pain was the silence." (11. 796-9.) (a) Transposition (useful as a test of the pupil's perception of the meaning of the text, and through it of the grammatical relations involved). Restate the last line in the usual prose order. (5) Grammatical Work. Select each clause or statement in the above sentence. What words serve to join the state- ments with anything outside themselves? In what cases are there no such words ? Can you supply any ? Do you think that and would be an appropriate word instead of bid ? (1. 798.) In what way does " no answer came," etc., continue the thought of the preceding statement ? You see that this sentence (the selection) is divided into statements, some more closely connected than others. If required to separate the sentence into two large divisions, where would the .separ- ation take place ? The echoes awoke where? The awaken- ing occurred where as to distance ? floor ? branches ? Then each serves to connect the idea expressed in what two words? The words in, over, beneath, all define one thing ; what is it ? What two define opposites as to place ? What one word would express the same idea, nearly, as "in the distance"? Then these words taken together (phrase) have a meaning and use like a single word. Awoke — what time is expressed by this word ? What form of the word expresses present time ? Notice the difference in time (same treatment of replied and ivas^. Then what three ways of indicating in the verb the l5 ENGLISH LITERATURE difference between the present and the past have you dis- covered ? Can you give other illustrations of each ? (c) Word Work. From what word does watery look as if derived? What has been added? What is the meaning of water? of watery f What part of speech is water f watery"? Thus bring out the meaning of the suffix, and the fact that adjectives are derived from nouns by adding ji^ or ly. Call for other examples. Treat in the same way darkness, etc. What does watery tell about or define as \.o floor ? Does imdtitiid- inous tell what the voices were made of? Then what does it define? Then one defines material, the other, number ; give other adjectives of same kind. The dictionary should be con- stantly in use for pronunciation and the meaning of words new to the pupil, or employed with a new meaning. Word- hunting and pride in the daily use of good English should be encouraged ; to this end, synonyms and antonyms may be brought forward and grouped, two close synonyms may be compared so as to bring out their common ground and their differences; e. g.^ torrents, 1. 1087, 2>.n^ streams, 1. 1089; sky and heaven, 1. 1104 ; embers and ashes, 1. 1112 (see Sec. X.,t/ ); or the various uses of a single word may be seen by following it through several passages ; e. g., of \u \. 103 =^ in or living in; 1. 107 =^ belofiging to; 1. 1 10 =^ made from the material ; 1. 116 ^= by; 1. 122 = from; as in 1. 64 =^in the degree . . . in 'tvhich; 11. 105, 109, and 112 = when; 11. 120, 276, 303, and 317 = in the relation of; 1. 379 - in the mangier . . . in which; words may be marked and listed in classes, such as all names of trees and flowers, of birds, of emotions or traits of character displayed, architectural terms employed (11. 770-797), words used to arouse a certain feeling in the reader, etc. IN THE NINTH GRADE- I7 SEC. X. FORMS USED IN ANALYSIS. (a) Simple Scntc7ices. 1. Kind of sentence. r subj . 2. Principal elements .| pred. (comp. 3. Independent elements. fsubj. 4. Modifying elements of. . J P^ed. I comp. [ indep. el. 5. Connecting elements. {b) Compound Sentejices. I. Kind of sentence. 2. Composed of (2, 3, etc.) mem- bers. 3. Designate the members. 4. State relations between members and give connectives. 5. Take up each member in order, and deal with it as if it were a separate sentence. if) Complex Sentences. I. Kind of sentence. 2. Consisting of a principal and — dependent clause(s). 3. Designate principal clause. 4. Des- ignate each dependent clause in order, stating its function, and giving the connective. 5. Take up each clause, and analyze it as if it were a separate sentence. Example illustrating all three of the above forms : "Solemnly down the street came the parish priest, and the children Paused in their play to kiss the hand he extended to bless them." (11, 43, 44.) ANALYSIS. This is a compound declarative sentence, composed of two members, one of which is complex. (The sentence might, therefore, be called covn^lo^^-compound, but not compound- complex.) l8 ' ENGLISH LITERATURE /St Membe)-. — "Solemnly . . . priest." 2d Member.— ''The: children . . . them;" related to the first as additional or aumdalive (also, in this case, successive in time), and connected by and. Tst Member. — The first member is simple. r sxib. priest the, parish [sub. ) | Frui. cl . . ^ pred. came solemnly, down > ■ Mod. ( co7np. the street {pred. ) ) Indep. el. Conn. down. 2d Member. — The second member is complex, consisting of a principal, and one dependent, clause. Principal clause, "The children , , . hand;" subordinate clause, "(that) he . . them,"— a limiting adjective clause, modifying Z-^;/^, and connected by that understood. Prin. r/.— Simple. Sicbord. 67. —Simple. I'rin. ^j. children the (J.) \ /'/v//. ( j. he — (j- ) > tV. .. ^/>. paused in their play, f , , , ''- IWy.r. that them (/,-^