age and water supply; of various arts and devices dependent upon fundamental principles of natural science, such as use of mucilage, glue, solder, the splicing of wire, the bending of tubes, the arrangement of pulleys and levers, the effect of lubricants, use of materials to protect against heat and cold; these, and a hundred other impressions will remain with the pupil through life, and will have at times a deciding power in the management of important operations. It is well known that a large percentage of our boys and girls leave school and assume the duties of citizenship without having had the advantage of any part of a high school course. If such pupils have been merely introduced to habits of scientific investigation and reasoning, it is fair to assume that their minds have been rendered somewhat alert in regard to such subjects; and because of this, they will be open to the acquirement in after years of much that is useful and helpful. All of this would be passed without attention were it not for the elementary science study in youth. A very excellent engineer on one of the railroads passing through Binghamton told the writer recently that a brief science lesson on the steam engine given in a small district school sixteen years ago was the means of awakening in his mind as a pupil an interest in machinery, leading eventually to his present employment. To the teachers in charge of these boys and girls in school, many of the lessons in science may convey truths which seem exceedingly simple and commonplace; but it must be borne in mind that the observation and experience of a child are far more limited than those of an adult. Truly, all the world seems to him "a complex Chinese toy." In nature study, and in science likewise, it should be a teacher's delight as well as duty to share the enjoyment and enthusiasm of the pupil. Even though the subjects that are under consideration seem simple and trite, the youthful ardor must not be dampened by lack of interest and sympathy on the part of the teacher. Well-chosen experiments performed by a judicious teacher with simple apparatus are a valuable means of making school life attractive, and anything that tends towards this end is a means of inducing pupils to persevere in their school career. There comes a time in the life of nearly every child when, by insistence, he may choose for himself between a discontinuance and one or two years more of school. If he can be induced to elect the latter, his value to the state as a citizen is materially increased. Other reasons present themselves; a brief mention must suffice: Scientific instruction broadens the horizon of the learner. He can see and understand more on every hand that comes to him in outside life. Allusions in books, magazines, sermons, lectures and conversation, before without meaning, now become intelligible. The life in the high school, if he becomes a pupil there, is more congenial, because he sees familiar landmarks as he progresses in his course. Material for composition work is at hand, and that dreaded task becomes an easy one. Give a child something to describe and the art of composition may be made as easy and as natural as the art of conversation. I am aware that there is a tendency on the part of one who is urging a special subject or line of action to place undue emphasis on its claims. A strong effort has been made in this discussion to avoid extreme conclusions, yet it is hoped that the arguments presented, even if there were no stronger ones, may be considered a sufficient reason for saying that scientific culture should be taught in all grammar schools. Having reached this conclusion, it is probable that we shall meet with some objections when we try to put our resolution into effect. These objections will be urged chiefly under the following heads: a Lack of time. b Lack of equipment. In reply to the objections under the second and third heads, it may be said that the material used need not be expensive, and the equipment need not be elaborate or costly. There are now a number of excellent manuals published, c Lack of qualification or inclination of outlining good elementary courses in difthe teacher. ferent branches of science and making use of material obtainable for the most part at nominal cost. Of the several branches available for science teaching, it is be These objections must be met in different ways according to the peculiar circumstances involved in each case. In answering the first, it is suggested that lieved that physics is more fundamental the teacher use, as often as may be considered expedient, a recitation period of the subject most closely related to the phase of natural science that is being taught. There ought not to be the slightest difficulty in correlating science with any subject in the school curriculum. It can be urged further that, inasmuch as science stands capable of taking the child as he may be situated, and willing to help him use his time to the very best advantage possible, the very training and discipline thus obtained will result in a gain of acumen more than compensating for the time thus consumed. In other words, the progress of a class in a given subject may be actually accelerated and increased in thoroughness, even though a part of the time allotted to the regular subject is diverted for the purpose of science in struction. That the above claim is a reasonable one will be admitted when we bear in mind the following definitions: I. "Science unites facts into a system in tematized result 2. of Science is organized common sense." and elementary than any of the others, except, perhaps, chemistry. Its lessons, too, present a greater variety of topics related to matters of every-day interest. Apparatus devised, prepared, or invented by the teacher has a peculiar value of its own from that very fact. It appeals to the pupils because it bears impress of the individuality of the teacher. The thoroughness and enthusiasm that will characterize that teacher's use of it will attain results usually superior to those. from regularly manufactured articles. The teacher will understand perfectly all the principles of construction and operation, and will thus be abundantly competent to present the lessons in a forceful and attractive form. The attention of the pupils should be stimulated by knowing that their memory, observations and conclusions will afterwards be tested, the character of the test to be determined by the teacher after considering the attendant circumstances. It is, therefore, recommended that the teacher keep a notebook memorandum of the subjects taught, with a brief account. of each lesson. Autumn is here again- Hail to the heaped-up corn, James Russell Lowell. Studies of English Masterpieces ELMER JAMES BAILEY, ITHACA, N. Y. The Merchant of Venice A PRELIMINARY QUESTIONS AND TOPIC 1. Give a brief sketch of Shakspere's life, dividing it into three parts: (a) The early years in Stratford, (b) the life. in London, (c) the period of retirement. 2. Name and distinguish the three groups into which the plays of Shakspere are usually divided, and mention three dramas belonging to each group. 3. Mention three works of Shakspere other than those dramatic in form. 4. What explanation is given for the fact that Shakspere sometimes uses verse and sometimes prose in different parts of the same drama? 5. Describe the verse used in Shakspere's dramas and scan some passage of ten lines from the Merchant of Venice. 6. Give a brief description of Venice and show why lines 14 and 15 of the first scene are called an "anachronism." 7. What was the ducat of mediaeval times and what would be the approximate value of three thousand of them? B QUESTIONS AND TOPICS SUGGESTED BY THE PLAY Act I. Scene I 8. What is the meaning of the word sad as used in line 1, and what from its use may we judge to have been the subject of the conversation which preceded the opening of the play? 9. What three causes do Antonio's friends suggest for his state of mind, and how does he refute each? 10. Contrast the characters of Antonio and Gratiano so far as they can be judged from the conversation of the first scene. II. Give the substance of the interview between Antonio and Bassanio emphasizing three points made by the latter. 12. Explain the classical allusions in Janus (line 30), Nestor (56), Cato's daughter, Brutus Portia (166), Colchos' strand (171), Jasons (172). 13. Scan lines 8, 22, 54, 139, 143, 178. 14. Comment on the meaning and use of argosies (9), signiors and rich burghers (10), pageants (11), wealthy Andrew (27), prevented (61), gudgeon (102). Scene 2 15. What comparison in tone may be drawn between the opening of this scene and the preceding? 16. What does the scene inform us as to the method of which Portia must be chosen? 17. Illustrate Portia's attitude towards her various suitors, drawing material from her replies to Nerissa. 18. What does the close of the scene inform us with reference to Portia's feelings about Bassanio? 19. Explain the allusions to the weeping philosopher (51), Sibylla and Diana (116, 117). Scene 3 20. Explain the play on the word good (12). 21. Reconcile Shylock's hatred of Antonio and his willingness to take the bond. 22. What are the terms of the bond? 23. Explain the Biblical allusions in the passage referring to the Nazarite. 24. What peculiarity is to be noticed in the ending of the last few lines which close each scene in this act? 25. What three groups of characters appear in this act, and how have two of them been brought into contact through the interest of one of the two groups in the third. 31. Give the conversation between Gobbo and his son, bringing out its humorous character and describing the necessary stageplay. 32. Relate the progress of Launcelot's suit to Bassanio. 33. How does Launcelot obtain his suit from Bassanio? Scenes 3-6 34. Give all the events in the elopement of Jessica. 35. Comment on Shylock and Jessica as father and daughter. 36. What was the nature of such a masque as the friends were preparing? 37. What is the historical allusion in Black Monday? 38. Scan line 24 scene 6. Scene 7 39. What are the inscriptions on the three caskets? 40. Three things condition the choice made by each of the three suitors, the material of the several caskets, the inscriptions on each and the personal character of the man making the choice. Show how this fact is brought out in the case of Morocco and which of the three elements chiefly guides him to his decision. 41. How is the writing on the scroll consistent with the inscription on the casket containing it? 42. Scan the lines containing the several inscriptions, line 51, and the verses upon the scroll. Point out all deviations from the normal line of the Shaksperean drama. Scene 8 43. Comment on Shylock's grief over his double loss and on its probable effect upon Antonio's relations with the Jew. 44. What double sorrow has fallen upon Antonio? 45. Comment upon the relations of Antonio and Bassanio as an ideal friendship. Scene 9 46. On what terms do we now learn that the suitors are allowed to make choice of the caskets? 47. Discuss the statement in question 40 with reference to Aragon. 48. Answer question 41 with reference to the scroll in the silver casket. Act III. Scene 1 49. What is the Rialto and what were the Goodwins? 50. Show how Shylock is badgered both by Christian and Jew. 51. How does Shylock defend his hatred of Antonio? Scene 2 52. Show how lines 10, 41-43, and the song, give some support to the claim that Portia really helped Bassanio in his choice. 53. Discuss the statement in question 40 with reference to Bassanio. 54. Answer question 41 with reference to the scroll in the leaden casket. 55. Give the substance of Portia's speech upon his successful choice from the caskets. 56. What oath is registered by Bassanio upon receiving Portia's first gift? 57. Explain the allusions in lines 55-60, 85, 102. 58. What now appears to be an explanation of Gratiano's wish to accompany Bassanio to Belmont? 59. How does it happen that Salanio, Lorenzo and his wife appear together? 60. Show why we may say that in this scene the three separate groups with which the play opened are all brought together by representatives. 61. What effect has the letter brought by Salanio? 62. What plan for Antonio's relief is urged upon Bassanio by Portia? Scene 3 63. Show the conduct of Antonio and Shylock when the former is at the latter's mercy. Scenes 4 and 5 64. Give in detail Portia's second plan for giving aid to Antonio. 65. Present the whimsical course of reasoning by which Launcelot endeavors to show Jessica that she must cherish no hope of salvation. 66. Give Jessica's comment on Portia. Act IV. Scenes 1 and 2 67. What double show of kindness does the Duke expect from the Jew? 68. Upon what does Shylock first rest his refusal to show mercy? 69. How does Bassanio hope to help his friend, and what answer does he get from Shylock? 70. What is Shylock's reply to the Duke's second plea for mercy? 71. In what way does Shylock justify himself in response to the railings of Gratiano? 72. Who was Pythagoras and what is his opinion referred to in lines 131-133? 73. Narrate the circumstances of Portia and Nerissa's admittance to the court. 74. What is Portia's first recommendation to Shylock, and what is his reply? Commit to memory the famous speech on mercy. 75. What is Portia's second recommendation to Shylock and what is his reply? 76. How does Portia seem to side with Shylock in her earlier talks with him? 77. What last show of kindness does he ask from Shylock and how is her recommendation met? 78. What humorous episode is now introduced between Bassanio, Portia, Gratiano and Nerissa? 79. How is the Jew's insistence upon the exact fulfilment of the bond turned against him? 80. How is the Jew's earlier scorn of Bassanio's offer of payment now used against him? 81. How is the Jew's earlier stand upon the laws of Venice made an instrument of punishment? 82. Under what conditions is Shylock allowed to leave the court? Explain minutely the terms on which mercy is shown. 83. Show how Portia and Nerissa get possession of their earlier gifts to their husbands. Act V 84. Explain the several classical allusions which occur in lines 1-14, 66, 80, 87, 109. 85. Describe the return of Portia and Nerissa and the welcome which they extend to Bassanio and his friends. 86. Give the details of the double quarrel about the rings and show how the matter is settled. 87. How is the ring episode an artistic method of making Bassanio and his friends see that Portia and Nerissa were at the court? 88. What good news has Portia for Antonio and Lorenzo? C. GENERAL QUESTIONS 89. What two main stories are interwoven to form the plot of the play? Give the chief incidents and the points of contact. 90. What two minor love stories occur and how do they help the plot? 91. What minor story serves as a sort of farcical element in the play and how does it help the final solution of the plot? 92. Discuss the question of whether or not Shylock was justly treated. 93. Defend Shylock for his hatred of Antonio. 94. Criticise Jessica for her treatment of her father. 95. Why is the Merchant of Venice called a comedy? What tragic elements does it contain? 96. What is meant by the often repeated remark that Antonio was saved through a quibble? 97. By what means are our sympathies turned towards and against Shylock? 98. If Shakspere intended us to feel that Shylock was treated unjustly, how does the absence of reference to the Jew in Act V show us that those who have ill-treated him have suffered in character development? 99. Show how the turning point of this play is found in its mechanical middle. 100. Show how the two equal parts on either side of this dramatic center have their own movements of rise and fall. Seeds Greenwinged pods upon the poppies wave, Birds of Nature. |