Educ T759,04, 250

HARVARD COLLEGE LIBRARY

GIFT OF

GINN & COMPANY

MARCH 17, 1927

COPYRIGHT, 1902,

By D. H. MCBRIDE & CO.

COPYRIGHT, 1904,

By B. ELLEN BURKE.

The author and publishers acknowledge indebtedness, and give sincere
thanks to the following authors and publishers, who have given permission
to use selections from their writings, and who have in many ways aided the
work.

Katherine E. Conway, Mary Sarsfield Gilmore, Rev. John F. Mullany,
LL.D., Rev. Arthur Barry O'Neill, C.S. C., Rev. Morgan M. Sheedy, Prof.
Maurice Francis Egan, Thomas O'Hagan, Ph.D., James Jeffrey Roche,
Denis A. McCarthy, and Henry Coyle.

The selection from Rev. Martin S. Brennan is by permission of Benziger
Bros.; from P. W. Joyce, by permission of Longmans, Green & Co.; from
Christian Reid, by permission of D. Appleton & Co.; from Joaquin Miller,
by permission of Whitaker, Ray & Co.; from C, H. and S. B. Harding, by
permission of Scott, Foresman & Co. ; from John La Farge, by permission of
the Century Company; from Right Rev. J. L. Spalding, D.D., by permission
of McClurg & Co.; from Condé B. Pallen, by permission of Small, Maynard
& Co.; from Rev. Abram J. Ryan, by permission of P. J. Kenedy. Selec-
tions from Rev. P. A. Sheehan and Prof. Maurice Francis Egan are by per-
mission of Marlier & Co.; from Mary E. Mannix and Rev. Edmund Hill,
C.P., by permission of the Ave Maria; from Sara Trainer Smith and J.J.
Walsh, M.D., by permission of the Messenger; from Agnes Repplier, Louise
Imogene Guiney, Holmes, Lowell, and Longfellow, by permission of and
special arrangement with Houghton, Mifflin & Co

To the Pupils:

In BOOK SEVEN of the MCBRIDE LITERATURE AND ART READERS there are many literary selections which should be committed to memory.

Before attempting to read aloud any literary selection, the new words and phrases should have been studied. When the word is one now in use by good writers and cultured people, it should be incorporated into the "speaking vocabulary" of each pupil in the class.

Many people use a number of choice words when writ ing, and when they are reading the works of others they recognize those words and know their meanings, but the words are never used in their conversations with their classmates or friends.

In a certain sense, these words are never introduced into the every-day life of the speakers, and the ideas which they represent, the associations which they recall, are put away, ignored, and, instead, only the terms of trade and business become the language of the people.

Words make sentences and sentences express thoughts. Sentences expressing related thoughts give us the paragraph, or in a broader sense, the whole composition. In this book is that gem, "Mercy," from Shakespeare. The whole paragraph is worth committing to memory; but study its meaning. How is the word "attribute" used? In place something is an “attribute to awe and majesty,” and in another something is "an attribute to God Himself."

one

What is the meaning of the word "seasons" in the last line?

The first thing in studying a new article is to make a list of the words that are new or whose meanings may be doubtful. Study them in their relation to other words in the article. Use them in original sentences and in different kinds of sentences. Then read the selection silently before reading it aloud.

It is important to have, frequently, "Conversation Exercises" relative to the selection read, the author, and matters related to the lesson. In these "Conversation Exercises," the pupils should use the language of the author, especially the choice words, which will thus become everyday aids in expressing thoughts.

A "Conversation Exercise" after reading " A City of the Sky," by Christian Reid; or, "A Bit of Irish Ivy," by Katherine E. Conway; or the article by John La Farge; or "Yussouf," by James Russell Lowell; or any one of the selections in this book,-would be most interesting and of untold value to each member of the class.

The dialogues which you will find in this book are placed here chiefly to furnish models for "Conversation Exercises," and to test your ability to read aloud, with ease, such exercises. When you are reading aloud you are expressing the thoughts of the author (which are now your own, also) in the language of the author; and you should so express them as to be understood by your hearers.

If you can read well, if you know the works of the good artists and authors sufficiently well, at least, to be able to tell something about their best productions, then you have a strong and lasting foundation upon which to build an education.