She struck where the white and fleecy waves
Looked soft as carded wool,

But the cruel rocks they gored her side
Like the horns of an angry bull.

70

Her rattling shrouds, all sheathed in ice,
With the masts went by the board;
Like a vessel of glass, she stove and sank,
Ho! ho! the breakers roared.

75

At daybreak, on the bleak seabeach,
A fisherman stood aghast,
To see the form of a maiden fair,

Lashed close to a drifting mast.

The salt sea was frozen on her breast,

The salt tears in her eyes;

And he saw her hair, like the brown seaweed,

On the billows fall and rise.

Such was the wreck of the Hesperus,

In the midnight and the snow.

Christ save us all from a death like this,

On the reef of Norman's Woe!

AM. AND BRIT. AU. - 2

80

85

EXPLANATION OF THE GUIDE ANALYSIS

Before

I. Read the Poem carefully and thoughtfully. coming into the class, read the poem aloud and silently. As a part of the home preparation, read and reread the piece selected for the day's recitation until it is well understood. Come to recitation prepared to read it aloud with some attention to elocution; that is, take special pains to express clearly the thought with such modifications of the voice as the sentiment requires. Short poems, and the best passages in long poems, should be committed to memory and recited.1

II. Recite the Story of the Poem. — The poem having been studied carefully as a part of the home preparation, and read in the class room with some intelligence, and with proper feeling and emphasis, the pupil is now prepared to recite the "story" of the poem orally.

This should be done first without reference to the text, telling the story in easy, familiar words. Then, with the text of the piece before him, the pupil should translate it into simple prose, transposing and changing the original wording as he may be able. This may be made a class exercise. Let one pupil begin, and have others follow, each taking up the story where his classmate leaves off.

During this exercise both teacher and pupils may make

1 "Let such pieces be learned well by heart. This should be made a necessary part of the out-school work, - of 'preparation.' While something more than the memory is to be thought of, and a mere loading of that faculty is before all things to be deprecated, the memory is not to be neglected. It is no trivial blessing to have the memory furnished in one's youth with what is worth remembering to the end of one's life, and grows more and more precious as we grow older and discern better its virtues."-J. W. HALES.

such comments and criticisms as will afford a better idea of the story, if it is a narrative, or to form a more accurate mental picture of the scene described. These comments should not, however, interfere with the interest of the story or description, but should serve simply as helps to a better understanding of the piece.

III. Study of the Text. In the study of English classic authors, the main thing to be aimed at by the pupil is clearly and fully to understand the meaning of the piece selected for study, and to appreciate the beauty and nobleness of its thoughts and language.

Hence the explanation of allusions, the pointing out. of the figures of speech, the derivation of words, and other minor matters should be strictly subordinated to this great aim. Yet a large amount of information may be imparted, and a very valuable training given, by devoting a certain amount of time to such matters.

Every student of English literature has already a considerable store of facts. Let him now turn to good account this stock of information. Even in a simple poem, like "The Wreck of the Hesperus," nothing should be overlooked that will help to a better understanding of the poem. Let the pupil ask himself questions, and do his best to answer them. Let him say to himself, as he studies each passage, "Now, do I understand this?" No pupil should ask of another what he can think out or find out for himself. The habit of independent search, how-. ever humble may be the first efforts, is of the greatest benefit.

The ability to answer any ordinary question on the text of a given lesson is a fair test of the pupil's having properly prepared his lesson. It must be remembered

that, at the most, printed questions are only suggestive. They may serve, however, to give a hint, to awaken a thought, and to suggest the idea of a question which can be readily clothed in words.

IV. The Author of the Piece. - The moment we become interested in the personal life of the author whose works we are studying, his writings assume a new interest, and that which was becoming dull and irksome will soon prove a source of real pleasure and profit.

Even in the most elementary work, the somewhat monotonous study of the text may be enlivened by interesting gossipy incidents, anecdotes, illustrations from periodicals, and literary references, easily culled in these days of abundant books and papers.

A few facts about the life and times of an author are of much greater value than many petty details, unimportant dates and facts, and verbose criticisms. The study of the text is of the first importance; the details of the life and times of each author are of comparatively little value, and should always take a secondary place in class-room work.

Having just read "The Wreck of the Hesperus," we may not unnaturally wish to know something of the person who wrote it. We have been charmed with its simplicity and pathos. Who, then, was its author? The text says it was Henry W. Longfellow? Who was Longfellow? When and where did he live? What else did he write? Have you read any other of his writings?

1"It is better to read thoroughly one simple play or poem, than to know details about all the dramatists and poets. The former trains the brain to judge of other plays or poems; the latter only loads the memory with details that can at any time be found, when required, in books of reference." -F. G. FLEAY.

The following "Outline of Life" may be of service to the pupil :

OUTLINE OF LIFE: HENRY W. LONGFELLOW. Suggestive Topics. When and where born; where did he attend college? what famous author was his classmate? college professorship; travels in Europe; his first literary work; professor at Harvard; resigned in 1854, but continued to live in Cambridge until his death in 1882; some of his principal productions, - prose, poems, translations; something about the "Craigie House," in which Longfellow lived for so many years; Longfellow's personal appearance.

EXERCISE

A FEW QUESTIONS ON THE WRECK OF THE HESPERUS

What is the meaning of the word Hesperus? Is this an appropriate name for a vessel? What is the meaning of the word skipper? How does a skipper differ from a master or a captain? In the first line of stanza 2, explain the figure of rhetoric in detail. Explain the figure in the second line of stanza 2. What is meant by a veering flaw? What is a sign of danger? What is meant by "sailed the Spanish Main"? Is the word hurricane used literally or poetically? Explain the "golden ring" round the moon. What does the second line in the same stanza mean? Explain the phrase, "snow fell hissing in the brine." Distinguish between the literal and poetical use of the word brine. Explain how the "billows frothed like yeast." What is meant by cable's length? How can a vessel be said to shudder? Why does the little girl think that she hears the church bells ring? Explain how the fog bell is used to warn mariners of danger. What is the Biblical reference in stanza 14?

TO THE TEACHER. To train the young student to select the most suitable parts of a piece for study outside of the class room, the teacher should direct his pupils, for a few lessons at least, to underline with pencil sundry words, phrases, or passages.

Attention is thus called to such important literary, geographical, or historical references as are found in almost every selection. Practice will soon teach the pupil to seize upon the salient points of any simple piece, without leaning upon so poor a crutch as a pencil. Example. Words to be checked with pencil, and explained, in the first ten stanzas of "The Wreck of the Hesperus": schooner, Hesperus, wintry sea, skipper, fairy flax, hawthorn buds, helm, veering flaw, Spanish Main, hurricane, golden ring, billows frothed like yeast, frighted steed, cable's length, stinging blast, broken spar, fog bells, rock-bound, open sea.