BY W. H. WILCOX, Principal of Model School, State Normal School, East Stroudsburg, Pa. The poem presents two classes of difficulties-difficulties due to words having a technical or local meaning, and difficulties of sentence structure due largely to the poetic form. Many of the difficulties in diction will disappear when the historical and geographical setting are understood. Selected reading from "Scott's Tales of a Grandfather" will make clear the historical setting. However, material for this purpose is contained in most school editions of the poem. In fact, more material than is desirable is found in most editions. The author's purpose in concealing the real character of James Fitz-James till the king stands dramatically revealed in the closing scene, should not be thwarted by untimely notes or explanations. So earnest was Scott in concealing the real character of the king that he tells us he worked over portions of the poem when he found on reading it to a friend that the king's identity was suspected too soon. The mystery surrounding James FitzJames, Ellen and her father, is one of the most important sources of interest and should be used accordingly. We shall avoid some mistakes if we bear in mind that we are not teaching history or geography, but literature. The historical (and the geographical) matter should be limited strictly to the needs of the poem. The story after all is a romance and should retain its romantic character. The geographical setting needs little consideration. A general knowledge of the geography of Scotland and a map for reference while reading will be sufficient. The next step in overcoming obstacles in diction is systematic word study for both pronounciation and meaning. Cultivate the "dictionary habit." Keep difficult words in a list for drill work until they can be pronounced at sight and their meaning quickly given. The difficult words in the advance lesson should be taken up before the reading begins. Before a stanza is read all the class should be able at least to pronounce every word in the stanza. It is sometimes advisable to assign a definite list of words to be looked up. Another plan is to have each pupil write down the words he finds difficult, ascertain the correct pronunciation and meaning and hand the list to the teacher. Almost any device may be used, but the drill must be thorough and constant. More serious than verbal difficulties are the difficulties arising from sentence structure. They also afford greater mental discipline. They are to be overcome by analyses, by hard thinking and by paraphrasing, and I will have to be dealt with largely during the recitation, as illustrated further on. Having in a measure mastered the thought we are ready for the more important part of our work, the reading and enjoying of the poem. Here it should be borne in mind that the purpose is to lead the class to understand and enjoy good literature in general, not this poem merely. Teachers ought to strive to cultivate in the minds of their pupils such a liking for good literature that much that now goes under the name of literature will become nauseating. Interest your pupils in the noble life of Scott. Read selections from his other works. Get your class to reading his other writings. For the time being, at least, be an enthusiast about Scott. If you cannot do this do not try to teach his writings. The method to be pursued in the actual reading will be determined largely by the character of the poem. The Lady of the Lake is a poem of incidents. The chief interest is in the story, and the poet's skill as a story teller leaves little for us to do here. The class readily sympathizes with the "noble stag," and hardly a hint is needed to arouse the most indifferent to an eager interest in its fate. So, too, the bewildered knight, the mysterious Lady of the Lake, the ominous fall of the sword, are only a few of the many pointers which need hardly to be noted to catch and hold the active interest of the class. The story is also strong in its picturesque effects. It appeals strongly to our love of nature. The tranquil evening scene, the bright morning instinct with life, the merry hunting party, and so on, the poem proceeds through a constant and varied succession of effective figures. What could be finer than the closing scene of the chase, when the exhausted stag is ministered to by sympathizing nature? "There while close couched, the thicket shed Cold dews and wild flowers on his head." These pictures must be made real to the pupils. They must read in images, not words, or all that is beautiful will be missed. The metrical form is also a source of interest. Children delight to read or repeat from memory stanzas of The Lady of the Lake even when they understand nothing of the meaning. Let the class commit to memory the first stanza of Canto I. to give them a feeling for the movement. Other passages may be committed, or read by the teacher for this purpose or for their dramatic interest. The worthy sentiments of the poem appeal at once to the class. Ignoble characters serve only as foils. Poetic justice is consistently administered. Associate this high moral tone with the character of Scott. Of course, expressions of lofty sentiment should be memorized. Interest will be increased also by attention to felicitous expressions and simple figures of speech. Now let me illustrate by outlining a lesson on the first three stanzas of Canto I. First drill the class on the words assigned. The teacher should not give the pronunciation of words during the reading. Read a connected and suitable portion of the first stanza, four lines. Make the meaning clear and the picture vivid. "Who has seen a mountain stream?" "Why does the poet say the moon 'danced' on the rill?" "Was the stag afraid?" "Where did he go for the night?" etc. Find Glenartney on the map. Finish the stanza. Compare the beacon on Benvoirlich's head to early morning light on lofty buildings or spires. "What word in the last line suggests its meaning by its sound?" Class say it-"clanging." Class close books, except one who reads to the class.. (The closing of all books but one is excellent for both teacher and class.) In a similar manner go through the next stanza. The magnificent stag readily fires the imagination of the class. "How does the stag know foes are coming?" "Meaning of 'tainted gale'?" "What precaution in regard to wind must be taken by a deer hunter?" "Does the stag think he can outrun the dogs?" "Do you hope he can?" "What is the subject in the first line of the third stanza?" "Why is 'yelled' placed first?" "Meaning of 'on the view'?" "Of 'opening pack,' etc." Try to have the class catch the spirit of this stanza. The quick movement of the lines describing the hunting party, and the slow movement of the closing lines will be readily, if unconsciously, appreciated, but how produce in the class that thrill of almost wild joy that the hunting party ✓ feels? Words mean nothing except as they have a content born of experience. Pupils can note the character of the hunting party, but where does their experience touch anything like this? The park with its deer will help some, but the spirit is nearest to that of the coasting party or sleigh-ride of anything in the experience of the class. The hunting spirit innate in most of us will also come to our aid. When we have done our best in these ways let the stanza be read with proper spirit by a good reader and end the lesson by having a pupil read the three stanzas. When the poem has been read in this way it is well to read it again practically without comment. "Leave the class with the poet." |