Eighth Reader
TO THE TEACHER
The paramount design of this series of School Readers is to help young people to acquire the art and the habit of reading well – that is, of interpreting the printed page in such manner as to give pleasure and instruction to themselves and to those who listen to them. In his eighth year at school the pupil is supposed to be able to read, with ease and with some degree of fluency, anything in the English language that may come to his hand; but, that he may read always with the understanding and in a manner pleasing to his hearers and satisfactory to himself, he must still have daily systematic practice in the rendering of selections not too difficult for comprehension and yet embracing various styles of literary workmanship and illustrating the different forms of English composition. The contents of this volume have been chosen and arranged to supply – or, where not supplying, to suggest – the materials for this kind of practice.
Particular attention is called both to the high quality and to the wide variety of the selections herein presented. They include specimens of many styles of literary workmanship – the products of the best thought of modern times. It is believed that their study will not only prove interesting to pupils, but will inspire them with a desire to read still more upon the same subjects or from the works of the same authors; for it is only by loving books and learning to know them that any one can become a really good reader.
The pupils should be encouraged to seek for and point out the particular passages in each selection that are distinguished for their beauty, their truth, or their peculiar adaptability to the purpose in view. The habit should be cultivated of looking for and enjoying the admirable qualities of any worthy literary production; and special attention should be given to the style of writing which characterizes and gives value to the works of various authors. These points should be the subjects of daily discussions between teacher and pupils.
The notes under the head of "Expression," which follow many of the lessons, are intended, not only to aid in securing correctness of expression, but also to afford suggestions for the appreciative reading of the selections and an intelligent comparison of their literary peculiarities. In the study of new, difficult, or unusual words, the pupils should invariably refer to the dictionary.
ACKNOWLEDGMENTS
Acknowledgment and thanks are proffered to Andrew Carnegie for permission to reprint in this volume his tract on "War as the Mother of Civilization and Valor"; to the Bobbs-Merrill Company for their courtesy in allowing us to use "The Prayer Perfect," from James Whitcomb Riley's Rhymes of Childhood; to David Mackay for the poem by Walt Whitman entitled "Come up from the Fields, Father"; to Charles Scribner's Sons for the "Song of the Chattahoochee," from the Poems of Sidney Lanier; and, also, to the same publishers for the selection, "The Old-fashioned Thanksgiving," from Bound Together by Donald G. Mitchell. The selections from John Burroughs, Ralph Waldo Emerson, James T. Fields, Nathaniel Hawthorne, Oliver Wendell Holmes, Henry W. Longfellow, and John G. Whittier are used by permission of, and special arrangement with, Houghton Mifflin Company, the authorized publishers of the works of those authors.
BROTHER AND SISTER 1
Tom was to arrive early in the afternoon, and there was another fluttering heart besides Maggie's when it was late enough for the sound of the gig wheels to be expected. For if Mrs. Tulliver had a strong feeling, it was fondness for her boy. At last the sound came – that quick light bowling of the gig wheels.
"There he is, my sweet lad!" Mrs. Tulliver stood with her arms open; Maggie jumped first on one leg and then on the other; while Tom descended from the gig, and said, with masculine reticence as to the tender emotions, "Hallo! Yap – what! are you there?"
Nevertheless he submitted to be kissed willingly enough, though Maggie hung on his neck in rather a strangling fashion, while his blue eyes wandered toward the croft and the lambs and the river, where he promised himself he would begin to fish the first thing to-morrow morning. He was one of those lads that grow everywhere in England, and at twelve or thirteen years of age look as much alike as goslings, – a lad with a physiognomy in which it seems impossible to discern anything but the generic character of boyhood.
"Maggie," said Tom, confidentially, taking her into a corner, as soon as his mother was gone out to examine his box, and the warm parlor had taken off the chill he had felt from the long drive, "you don't know what I've got in my pockets," nodding his head up and down as a means of rousing her sense of mystery.
"No," said Maggie. "How stodgy they look, Tom! Is it marbles or cobnuts?" Maggie's heart sank a little, because Tom always said it was "no good" playing with her at those games – she played so badly.
"Marbles! no; I've swopped all my marbles with the little fellows, and cobnuts are no fun, you silly, only when the nuts are green. But see here!" He drew something half out of his right-hand pocket.
"What is it?" said Maggie, in a whisper. "I can see nothing but a bit of yellow."
"Why, it's – a – new – guess, Maggie!"
"Oh, I can't guess, Tom," said Maggie, impatiently.
"Don't be a spitfire, else I won't tell you," said Tom, thrusting his hand back into his pocket, and looking determined.
"No, Tom," said Maggie, imploringly, laying hold of the arm that was held stiffly in the pocket. "I'm not cross, Tom; it was only because I can't bear guessing. Please be good to me."
Tom's arm slowly relaxed, and he said, "Well, then, it's a new fish line – two new ones – one for you, Maggie, all to yourself. I wouldn't go halves in the toffee and gingerbread on purpose to save the money; and Gibson and Spouncer fought with me because I wouldn't. And here's hooks; see here! – I say, won't we go and fish to-morrow down by the Round Pool? And you shall catch your own fish, Maggie, and put the worms on, and everything – won't it be fun?"
Maggie's answer was to throw her arms around Tom's neck and hug him, and hold her cheek against his without speaking, while he slowly unwound some of the line, saying, after a pause: —
"Wasn't I a good brother, now, to buy you a line all to yourself? You know, I needn't have bought it, if I hadn't liked."
"Yes, very, very good – I do love you, Tom."
Tom had put the line back in his pocket, and was looking at the hooks one by one, before he spoke again. "And the fellows fought me, because I wouldn't give in about the toffee."
"Oh, dear! I wish they wouldn't fight at your school, Tom. Didn't it hurt you?"
"Hurt me? no," said Tom, putting up the hooks again, taking out a large pocketknife, and slowly opening the largest blade, which he looked at meditatively as he rubbed his finger along it. Then he added – "I gave Spouncer a black eye, I know – that's what he got by wanting to leather me; I wasn't going to go halves because anybody leathered me."
"Oh, how brave you are, Tom! I think you're like Samson. If there came a lion roaring at me, I think you'd fight him – wouldn't you, Tom?"
"How can a lion come roaring at you, you silly thing? There's no lions, only in the shows."
"No; but if we were in the lion countries – I mean in Africa, where it's very hot – the lions eat people there. I can show it to you in the book where I read it."
"Well, I should get a gun and shoot him."
"But if you hadn't got a gun – we might have gone out, you know, not thinking just as we go fishing; and then a great lion might run toward us roaring, and we couldn't get away from him. What should you do, Tom?" Tom paused, and at last
From "The Mill on the Floss," by George Eliot.
