Retail Price lO Cents PS 1545 j~ ^ xtVt .05 > 1904 Copy 1 ENGLISH READINGS for HIGH SCHOOLS *** 5^> l ^ for mun zj^nvjvjL^ ^ ^ # 1 Xaftegfoe Series ^ XT* XT* XT* XT* XT* XT* xT* f> # # # ^ # # ^ ^ ^ ^ ^ ^ XT* X*> §> 5*1 * SELECTIONS FROM ELEANOR C. DONNELLY & <%> xt* xt* »** xT* xt* xT* xT* ^ ^ # # ^ #> XT* XT* xT* XT* XT* X** ^ # ^ # # # XT* xT* XT* XT* XT* xT* xT* ^ ^ ^ ^ ^ ^ ^ xT* XT* XT* XT* xT* xT* # ^ # ^ <*f> ^ xT* xf* H> <# 1 ^'NSWORTH & COMPANY CHICAGO XT* XT* XT* XT* XT* XT* The ytkegtrle Classics Szuzs. With Portraits, Introductions, Notes, Historical and Biographical Sketche*. 1. Selections from Plato. Edited by IT. T. Nightingale; boards. 12mo., 154 pages- illustrated, containing " The Phaido" and "The Apology of Socrates," 20 cents 2. Selections from Washington. Lincoln, and Bryant. By H. T. Nightingale; en- ameled covers. 02 pages, illustrated, containing five charming selections from Bryant; Washington's Rules of Conduct; The Farewell Address to the American People; and Lincoln's Gettysburg Address; also Lincoln's First Inaugural Address; 15 cents. 3. Selections from Essays by Lord Bacon. Enameled covers, 80 pages, illustrated, containing fifteen Essays, with introduction and notes by Henry Morley, LL. D., Professor of English Literature at University College, London ; 15 cents. 4. The Princess. By Alfred Tennyson, enameled covers, 90 pages, illustrated; edited by EL T. Nightingale, contains a short sketch of the Life of Lord TennysoD, also an introduction and a list of the works of Tennyson and dates of publication, 15 cents. 5. Selections from Surns's Poems and Songs. In two parts, enameled covers, 102 pages, illustrated with a portrait, and views of Scottish scenery, illustra- tive of some of the selections, with a glossary, 15 cents. 6. Cariyle's Essay on Burns Enameled covers, 104 pages, illustrated, with an in- troduction, containing also a review based on a structural standpoint with a synopsis, numbered, referring to the paragraphs of the Essay, which are also numbered, prepared by Walter Slocdm, principal Hyde Park Branch High School, Chicago; contains also "Burns as a Man or Letters," from Cariyle's "Heroes and Hero Worship," 15 cents. 7. Cariyle's Essay on Burns, and Selections from Burns's Poems and Songs. Contained in volumes 5 and 6, limp cloth bound, 25 cents. 8. In full cloth binding, 30 cents. 9. Selections from Browning. Edited by C. W. French, principal of the Hyde Park High School, Chicago; enameled covers, 85 pages, illustrated, includes a num- ber of Browning's most celebrated poems, such as Saul, Rabbi Ben Ezra. Pheidippides, Aot Vogler, etc., besides a number of his best-known lyrics- 15 . cents. 10. Four Great Classics. Containing BuTke's Speech on Conciliation, Coleridge's Ancient Mariner, The Vision of Sir Laucfal, and the Holy Grail, comprised in volumes 11, 12, 14, full cloth bound, 40 cents. 11. Burke's Speech on Conciliation. Full-cloth bound, 96 pages, ediled by Joseph Rcshton, L. H. D., with an introduction and notes and, in special editions, a carefully prepared synopsis, 20 cents. 12. Coleridge's Ancient Mariner. Enameled covers, 64 pages, containing an intro- duction, with glossary, a portrait, and 22 illustrations, reproduced from old English wood engravings, 15 cents. 13. Coleridge's Ancient Mariner. Cloth bound, 20 cents. 14. The Vision of Sir Launfal, The Holy Grail. In one volume, 78 pages, enameled covers, cloth back, with portraits, edited by Joseph Rushton, L. H. D., with an introduction and notes for schools and academies, 15 cents- 15. The Vision of Sir Launfal, Sir Galahad. Cloth bound, 20 cents. 16. flacaulay, ("lilton, Burke. Full cloth bound, side stamp. 400 pages, containing Macaulay's Essay on Milton, Macaulay's Essay on the Life and Letters of Addisop. Milton's L'Allegro. II Penseroso, Comus, and Lycidas. Burke's Speech on Conciliation, 60 cents. 17. Macaulay, Milton, Burke, Macbeth. Full cloth binding, containing same sec- tions as No. 16 and also Shakespeare's Macbeth, from the 20th Century Shake- speare, prepared by C. L. Hooper, 90 cents. 18. Milton's Minor Poems. Containing L'Allegro, II Penseroso, Comus, and Lyc- idas, 75 pages, enameled covers, cloth back with portrait, an introduction, and notes for use in schools; reviewed by Miss Peake and Miss Henderson, of the Oshkosh State Normal School, 15 cents. ELEANOR C. DONNELLY Wot Ha&eei&c $rrieis of ffincliab Restiincei SELECTIONS From the Writings of ELEANOR C. DONNELLY With Notes and Questions CHICAGO AINSWORTH & COMPANY 1904 - u ■ 6 1304 Q Jowrteht Ewry CLASS ^7 XX©. No. ' COPY B 3^ ^f Copyright 1904 BY AINSWORTH & COMPANY -ALL KIGHTS KESKRVED L. O. 101. PREFACE On the training of youth is based the hope of the future; and as literature wields a potent in- fluence in the formation of character, it is to this agency that educators turn as one of their chief defenses against the powers of destruction that threaten the stability of the social structure. The part that Catholic authors have contrib- uted to literature places them high in public esteem. Their works bearing the impress of their Faith, which in its beauty and elevating influence needs but to be seen to be loved, entitle them to be enshrined in our hearts and engraven on our minds. It is from these sources that we have drawn for a series of studies adapted to the capacity of young minds, and which, we hope, will supply a long felt want in our Catholic preparatory schools. In bringing Eleanor C. Donnelly to the acquain- tance of pupils we are introducing one of the sweet- est singers of the age. Her modesty interposes a barrier to further encomium, but familiarity with her poems, we do not hesitate to say, will complete the tribute here merely suggested. The Compiler INTRODUCTION ELEANOR C. DONNELLY When but eight years old Eleanor Cecilia Don- nelly began to write verses, and from the time that she was nine, her beautiful poems and well- written stories have been constantly Her Life and appearing in the best periodicals and Works newspapers of the country. Her pen has always been devoted to the ex- tension of the Catholic cause and the elevation of Catholic literature. She was born in Philadelphia, and was one of the seven children of Dr. Philip Donnelly and Catherine Gavin Donnelly. As Dr. Donnelly died when Eleanor was still an infant, the remarkable talent displayed by the child at so early an age was nurtured and directed by the mother, a gifted and accomplished woman. Among her stories, "Amy's Music Box," "Pet- 8 ELEANOR C. DONNELLY ronilla and Other Stories," and "The Lost Christmas Tree" are favorites with young readers. Besides her stories and numerous contributions to various magazines, she has published at least a dozen volumes of poems. With a charm that has seldom been excelled, she has told in exquisite verse, the sweet old legends and stories of the past. Prominent among these are her "Vision of the Monk Gabriel," "The Bronze Berenice," "Borgia's Vow," " A Tuscan Magdalen," "Gaul- berto's Victory," and the poems here presented for study, "Unseen Yet Seen," and "The Legend of the Robes." Her sacred poems bespeak the strong faith and tender piety of their author. "The Hymn of Reparation," "Taken at Our Word," and "The Vision of the Wounds," move our hearts by their sweet pathos and haunt our memories by the reverent music of their lines. The theme of Longfellow's "The Legend Beau- tiful," is the same as that of Miss Donnelly's "Vision of the Monk Gabriel." Longfellow wrote his poem eight years after Miss Donnelly published hers, and it is believed, took his inspiration from her. " A favorable opportunity was thus offered," remarks a reviewer, "for examining and contrast- IXTRODUCTIOM 9 ing the respective work of both Writers ;and, while Longfellow's ' Legend ' was compared What Others t0 a statue boldly wrought in cold Say of Her. marble by the sculptor's deft hand, Miss Donnelly's 'Vision of the Monk Gabriel' was likened to an old painting iu which warmth of imagination, artistic vigor, and tenderness of color and expression joined to make the picture life-like." "It is impossible to read Miss Donnelly's poems," says one of her critics, "and not at least desire a better life, a closer union with Infinite Perfection." Another speaks of her as "a writer whose originality, abounding metaphor, grace of diction, sweetness of rhythm, fire, pathos, purity of sentiment, and sublimity of thought entitle her to rank among the first of American poets." And again, "The authoress is fully conversant with the wonders of nature and the workings of grace; and, like the clean of heart, she sees God in all things. Her muse ever tends to develop the better feelings of men, to excite pity for suffering, and charitable consideration for erring humanity, and, in all and above all, to promote the glory of God." Miss Donnelly still resides in Philadelphia, where she is the center of a cultured circle of 10 ELEANOR C. DONNELLY admiring and devoted friends. Her native city has not been unmindful of the poetic talent of its gifted daughter, but has twice conferred upon her public literary honors. "It was her pen that was selected by the American Catholic Historical So- ciety of which she is a valued member, to prepare an 'Ode' for the Philadelphia commemoration of the adoption of our National Constitution, as also the Columbian 'Ode' for her native city's cele- bration of the quadricentennial of the discovery of America." The honor of composing the" Odes" for the Golden Jubilees of the Priesthood and of the Episcopacy of His Holiness, Pope Leo XIII, was also conferred upon Miss Donnelly, by the Catholic literary world of America. The work elicited from His Holiness the Papal Benediction. UNSEEN YET SEEN ■ 11 UNSEEN YET SEEN One of the best known of Miss Donnelly's works is her exquisitely finished poem, "Unseen Yet Seen." It is a story with a moral, The the author's purpose being, evi- Purpose. dently, to teach the lesson of purity of intention — to show How utterly false and mean we grow When we work for the tyes of men alone ; — and how, not less unworthy is he who has "self" as the end of all his actions; for, she continues, A selfish purpose narrows and numbs All that is noble and fresh within us . This valuable lesson is not merely implied, but is clearly expressed in these strong words: That nothing avails us under the sun, In word or work, save that which is done For the honor and glory of God alone. The whole poem is a beautiful paraphrase of the Gospel promise, "Thy Father who seeth in secret will repay thee," and of that other, "Seek ye first the kingdom of God and His justice, and all these things shall be added unto you." In answer to an inquiry concerning the "thought- ful book," in which Miss Donnelly read of the "old cathedral over the sea," she says, "As regards Lore. 12 ELEANOR C. DONNELLY the query anent 'Unseen Yet Seen' — the lapse of years and the vast amount of work completed since its composition, make it difficult for me to recall the incident attendant on it. I have the impression that the 'book' referred to was the 'Life and Letters of Father Frederick William Faber.' And, if the 'cathedral' in question be not the cathedral of Milan, I know of none other that so perfectly expresses my simile." Clear and simple, but strong and beautiful, like the little legend itself, is the style in which Miss Donnelly clothes her story. The The Style. tone is earnest and dignified, and the diction sweet and musical. Well- chosen similes and metaphors abound, and in every instance make clear and enhance the thought expressed. With the delicate touch of a master hand she has painted the picture of the old artist at his work "on roof and tower and belfry gray." The picture is warm and living with color and sound. Over it all falls the soft, dim light of the legendary past. The meter employed is mixed iambic and ana- pestic tetrameter. The varied rhyme of the poem constitutes one of its many attrac- The Verse. tions, alternate rhyme, couplets, and triplets being interspersed with consummate taste. UNSEEN YET SEEN .13 UNSEEN YET SEEN I have read somewhere in a thoughtful book, Of an old cathedral over the sea (A wonder of art, whose every nook Is full of a charming mystery), 5 That up, high up, on the topmost point Of roof and tower and belfry gray, Which the gracious summer dews anoint, And the birds frequent in their airy way: There are marvels of sculpture, rare and fine, 10 Flower and fruit and trailing vine; And lovely angels with folded wings, Cut from the stone, like living things; And pure Madonnas, and saints at prayer, With reverent heads and flowing hair, — 15 Colossal figures, by height diminished, With every lineament finely finished. Yet all this delicate tracery Was not for the eyes of mortal made, For none but God and His angels see 20 The marvelous sculpture there displayed. Who was the artist whose chisel wrought Into exquisite work such exquisite thought? Why did he labor for years and years, Through days of travailing, nights of tears, -14 ELEANOR C. DONNELLY 25 Under the' Stars and under the moon, Dreaming; designing, at morn and noon, To work these wonders in wood and stone, Which God and His angels see alone? God and His angels! Behold the key 30 To this strange, unworldly mystery! That grand old artist, mounted on high, Like an eagle perched in his eyrie lonely, Working with hand and heart and eye, Was working for God and His angels only. 35 No mean, self-conscious motive stirred The tranquil depths of his patient heart; But praise or censure, alike unheard, In his chaste communings had no part. Far, far below him the world was spread, 40 Like a painted picture, small and dim; And the voice of creatures, the rush and tread Of the mighty millions, were lost on him. While the skies bent over him, blue and broad, So full of the awful, unseen God, — i 45 Heaven seemed so near, and earth so far, No selfish thought could his labor mar. Ah! what a lovely moral lies Hid (like the delicate tracery On roof ! and tower and gray belfry 50 Of the old cathedral over the sea) In its' storied' legend's dim disguise! UNSEEN YET SEEN 15 'Tis worth an infinite treasure to know (Whatever beside should be unknown) Hew utterly false and mean we grow, 55 When we work for the eyes of men alone. How blind and aching our sight becomes, With the glare of glory such works may win us, While a selfish purpose narrows and numbs All that is noble and fresh within us. 60 'Tis only when self is dead and gone, And our souls from the mists of passion free. That the angels of God come in and crown Our labors with immortality. O Artists! who work with pencil or pen, 65 With chisel or brush, for the praise of men, — When you fold your hands at the twilight's close, And muse in your darkened studios, Do you never consider, once for all, How that other and deeper night must fall, 70 When earth and the things thereof shall be Lost, like a dream, in Eternity? When, shrinking and startled, — with soul laid bare, — The creature shall meet the Creator there, And learn at the foot of the Great White Throne 75 (A truth which should never have been un- known) That nothing avails us under the sun, 16, ELEANOR C. DONNELLY In word or in work* save that which is done For the honor and glory of God alone? Oh, blessed indeed are the pure of heart! 80 For they shall see God in their glorious art; And joyous shall be (though the world wax dim) If none shall behold them save Him, save Him! And they are the sculptors whose works shall last, Whose names shall shine as the stars on high, 85 When deep in the dust of a ruined past The labors of selfish souls shall lie. Brothers! who work with pencil or pen, With chisel or brush, for the praise of men, Whate'er ye design, whatever ye do, 90 Seek first the kingdom of God, — and then All else shall be graciously added to you. And the moral is yours, which was sent to me From the old cathedral over the sea. THE LEGEND OF THE ROBES 17 THE LEGEND OF THE ROBES The "Legend of the Robes" commemorates an event in the life of Saint Elizabeth, the Landgra- vine of Thuringia in the early part Source. of the 13th century. The saint was renowned for her love of the poor for whose relief she had deprived herself of many luxuries befitting her social position. Clad in simplest attire, she spent much of her time spin- ning for them, and in this occupation she was one day surprised by her husband's announcement of ambassadors from the court of her father, the King of Hungary. Louis desired her not to receive them in the homely apparel she usually wore, but Elizabeth prevailed on him to suffer it and God was pleased to give so extraordinary a loveliness to her person that her husband and the ambassa- dors alike were amazed at the majesty and beauty of her appearance. This marvellous happening is Miss Donnelly's subject, and in a series of delight- fully colored pictures she shows Purpose. forth the beauty of charity and the recompense accorded the practice of this virtue; how, even in this life, God repays with 18 ELEANOR C. DONNELLY the hundredfold what has been given to Him and to His poor; how He will reward by miracle, if need be, the relinquishment of all things for His sake. The author relates the Legend in the neat style using figures sparingly, yet exhibit- Style, ing the soul of a musician in her har- monious selection and combination of words. Adjectives in particular are numerous, yet the reader experiences no feeling of "wordi- ness," for each qualifying element seems like a stroke in careful pen-etching — requisite to make the picture complete. The use of compound ex- pressions, such as "Christ-like," "low-drooping," "heavy-bearded," adds a peculiar charm to the style. The figure occurring most frequently is the simile. The poem is written in blank verse, that is, meter without rhyme. The usual Meter. form of blank verse is iambic pen- tameter, the form prevailing in this selection. THE LEGEND OF THE ROBES 19 THE LEGEND OF THE ROBES Elizabeth (by God's dear grace the spouse Of Louis of Thuringia), sat one day In the fair quiet of her latticed room. With Ysentrude — of all her maids best loved — 5 To bear her company. The pure spring light Crept through the ancient casement, and illumed The noble beauty of the lady's face, The chaste decorum of her simple robe, 10 Scarce richer than the beggar's russet cloak On which, with persevering love, she wrought; Singing the while, with summer in her voice, Sweet snatches of an old Hungarian hymn, To which maid Ysentrude held meek refrain, 15 With sweeping lashes and low-drooping veil. A step pulsed through the hall, — a manly step, — And in the doorway, framed (a picture fair,) Duke Louis stood, and smiled upon his spouse, A tender smile, yet troubled. 20 Up she rose, The fond Elizabeth, and coming, basked In the mild lustre of his anxious eye; The Christ-like pity on her girlish lip Melting and mixing in her smile of joy; 20 ELEANOR C. DONNELLY 25 While throbbing heart sent up its purest rose To tremble through the olive of her cheek, And bid him welcome there. "What ill has chanced; Dear love, to thee or thine, that this calm face. 30 So sad a mask should wear?" The lady asked. "O spouse Elizabeth! we are undone! Four envoys from thy father's court, below, Come to crave audience with thy gentle self, Who must respect their plea. What wilt thou do? 35 Thy love of God, and of his precious poor, Has so inflamed thy generous soul with zeal, That gems and silken robes are quite forsworn, And all the pomp of ducal dignity Sunk in obscure retreat. I do not chide 40 Thee, love, fair-blushing, like the morning sky! Thy rosy charms, to me, can deck thee out In raiment comelier than a queen's attire. But if thou givest audience to these men, Clad, as thou art, in this poor woolen robe, 45 They, knowing not the motive of thy deeds, (That charity which gives, forgetting self,) Will straightway swell with scandal and depart, Burning to bruit what gossips burn to hear, That Louis of Thuringia keeps his bride 50 In robes no better than a peasant dame's!" With ear attentive to his tender words, With kindling eye uplifted to his own, Elizabeth was mute; but now her hand THE LEGEND OF THE ROBES 21 Fell lightly as a snow-flake on his arm, 55 And through the silence came her silver voice: " Fret not thy soul, my Louis, with these cares, But trust in God. Our noble guests are worn And weary with long travel; do thou go And bid them welcome to Thuringia's halls 60 Most generous. And when the feast is spread, I shall attend you there!" Her glorious smile, Her pure uplifted brow, o'erawed him, And he went away communing with her words. 65 — Then knelt the Lady 'Liza where she stood, Her little hands enclasped, her holy face Brilliant with some strange lustre as she prayed : "O Lord! My Crucified! for Thy pure love I have despoiled myself of royal robes, 70 And put away the vanity of gems! Listen, Best Beloved! in Thy strength, (Pure as the fleece and generous as the light) Behold me in my poverty and need, And make me pleasing in mine husband's eyes!" 75 Circled with veiled maidens, down she went, Transfigured with the passion of her prayer; Her soft, slow step is herald to her coming, And silence chains the lords who grace the feast. What 'mazement leaps to light their sluggish eyes, 80 What wonder parts their heavy-bearded lips! While Louis folds his arms upon his chest, 22 h ELEANOR C. DONNELLY Lifts his proud head, and smiles upon his bride. Her robe of silken sheen flowed o'er her feet Sweeping the marble floor in waves of light; 85 Clasped at her throat, the yielding mantle sprung To flood her graceful shoulders with its folds Of velvet, azure as a summer's sky. And, from her head (confined with diamond pins Which lit her locks as stars the midnight gloom) , 90 A fleecy veil fell, shimmering like spray, Over her blushing cheeks, her pure, clear eyes! "Sweet wife!" Duke Louis said, the while her hand Lay, like a pearl, within his manly palm: — "Sweet wife!" ('twas but a whisper, yet she heard,) 95 "Thy face, methinks, doth sparkle like the sun, And thy rich raiment — ? ' ' Lady 'Liza bowed Her forehead, like a lily touched with sleep, And while the color varied in her cheeks, 100 "Great is our God," she said, "and wondrous are His ways." LITTLE VESTRY AND THE WHITE SCAPULAR 23 LITTLE VESTRY AND THE WHITE SCAPULAR [The crucial test of that inimitable quality, simplicity, is the power, the " knack," as Steele puts it, of story-telling. "I have often thought," says the same English humorist, " that a story-teller is born, as well as a poet." The same may be said of a story-writer, particularly of a child story-writer. In this amiable role, Lamb, Dickens, Kingsley, and Hawthorne have won warmest praise. Here, too, our own author has been singularly successful. As an example of the charming grace with which Miss Donnelly holds the interest of her host of juvenile readers, we quote the following pathetic history of a little boot-black, from her collection, " Amy's Music Box and Other Little Stories and Verses."] He had "shined" his last pair of boots, just before he turned the corner of an up-town street; and then he came upon a big church with a cross upon its steeple. It was a warm September night, and the doors were wide open. A flood of light poured from the brilliant altars and many voices were chanting a sweet Latin hymn. He was a queer, wise-looking little fellow, this brown-faced, grave-eyed Italian boot-black. "Ves- try" was the street contraction of his full, musical name, Vito Vestrizzio; and the boys said it just suited him — he was so fond of serving Mass at the Italian Church down town. Far off in beautiful Genoa his good old grand- 24 ELEANOR C. DONNELLY mother (who had reared him) had taught him his prayers and Catechism, and trained him thor- oughly in his religion. She had often said to him: "Never pass a church, figlio mio, without going in to say one Ave Maria that you may die in the grace of God." He remembered it now, and went in. The church was full of people, and Vestry, slip- ping into a back pew, laid his "kit" on the floor. By this time a priest was preaching before a sheine, where the picture of a lovely Madonna and Child was set among banks of lilies and blazing tapers. Vestry could not understand all he said, but he caught enough to know that he was urging every- body to love Mary, to seek her counsel, to imitate her virtues. When the sermon was over, men, women and -children flocked to the altar rail, and the priest began to give each one a little white Scapular. Vestry longed to go up and get one with the rest, but felt afraid to venture. And then a wonderful thing happened. A beautiful young lady near him handed him a Scapular and, smiling, motioned him to approach the altar. She wore a white gown, and her sweet, rosy face LITTLE VESTRY AND THE WHITE SCAPULAR 25 was shaded by a white leghorn hat, with snowy plumes. Vestry thought she must be an angel, and silently obeyed her. In a few moments he was kneeling before the lovely shrine, and the priest had thrown the rib- bons of the White Scapular around his neck. The poor little boot-black felt strangely peaceful and happy. He even shed some tears of joy, thinking tenderly of the dear old grandmother at home. He would write to her. She would be glad to know that her ragazinno had kept himself from the low vices of the streets and was wearing Our Lady's Scapular. Was it an hour afterwards (or was it only ten minutes?) that he was crossing the street on his way down town? What a crowd was gathering! A voice cried "Fire!" — and a patrol wagon dashed with furious speed around a corner. The bystanders heard a shrill scream of agony, and with blanched faces rushed to lift from the cobble stones a poor, crushed, bleeding little shape, with a boot-black's "kit" slung across its shoulders, and a small white something fluttering on its breast. 26 ELEANOR C. DONNELLY There was a priest in the accident ward of the State Hospital. He had just given the Last Sacra- ments to a dying patrolman; and, as he passed to the door between a row of beds, he saw on one of them a little ghastly chap, so blood-stained and bandaged, that he looked like a small wounded soldier. The priest stooped and read on the chart at the bed-head: " Vestry, a boot-black, aged 12; com- pound fracture of, etc., etc.; — contusion of, etc., etc. Supposed to be mulatto. Residence , unknown." From the pillow a queer little foreign face stared up at him, old-fashioned as a brownie's — but with a soft reverence in the velvety eyes. Could the child be a Catholic? As if in answer to the mental query, the poor little lad thrust his one sound hand into his bosom and drew trem- blingly forth — a White Scapular of Our Lady of Good Counsel! "Madonna mial" he whispered feebly. The priest fell on his knees beside him. He had studied in Rome, and spoke Italian fluently. Oh! the radiant rapture of the little face when Vestry heard the music of his own tongue and breathed forth his confession in the embrace of those strong, but tender arms. LITTLE VESTRY AND THE WHITE SCAPULAR 27 The absolution was pronounced — the Holy Viaticum administered; and through it all the little Genoese held fast to his Scapular. "It is a piece of Blessed Mother's mantle," he answered quaintly, when the priest asked him why he loved it; and then, "Is Madonna Mary very beautiful? And shall I see her soon, Padre mio? Ah! yes," he sighed, wandering a little: "I am thy child, good Mother! I shall always wear thy Scapular" — (making an effort to lift it to his lips) — "take me — ." There was an odd catch in the breath, his head drooped and a gray shadow crossed his face. "Died of shock," said a passing surgeon. But there was a tear on the priest's cheek as he closed the boy's wide-open lids over that look of admiration and awe as at the sudden sight of some- thing astoundingly new and lovely. "His eyes have seen the Queen in her beauty!" he murmured; and then reverently laid back the little White Scapular upon the dead child's breast. 28 ELEANOR C. DONNELLY VISION OF THE MONK GABRIEL 'Tis the soft twilight. Round the shining fender, Two at my feet and one upon my knee, Dreamy-eyed Elsie, bright-lipped Isabel, And thou, my golden-headed Raphael, My fairy, small and slender, Listen to what befell Monk Gabriel, In the old ages ripe with mystery, — Listen, my darlings, to the legend tender. A bearded man, with grave but gentle look, His silence sweet with sounds With which the simple-hearted spring abounds: Lowing of cattle from the abbey grounds, Chirping of insect and the building rook, Mingled like murmurs of a dreaming shell; Quaint tracery of bird and branch and brook Flitting across the pages of his book, Until the very words a freshness took, — Deep in his cell Sate the monk Gabriel. In his book he read The words of the Master to His dear ones said: VISION OF THE MONK GABRIEL 29> "A little while and ye Shall see, Shall gaze on Me; A little while again Ye shall not see Me then." "A little while!" The monk looked up, a smile Making his visage brilliant, liquid-eyed: "O Thou, who gracious art Unto the poor of heart, "O blessed Christ!" he cried, Great is the misery Of mine iniquity; But would / now might see, Might feast on Thee!" The blood with sudden start, Nigh rent his veins apart — (0 condescension of the Crucified) In all the brilliancy Of His humanity The Christ stood by his side! Pure as the early lily was His skin; His cheek outblushed the rose, His lips, the glows Of autumn sunset on eternal snows. And His deep eyes within Such nameless beauties, wondrous glories, dwelt, The monk in speechless adoration knelt. 30 ELEANOR C DONNELLY In each fair hand, in each fair foot there shone The peerless stars He took from Calvary: Around His brow in tenderest lucency The thorn-marks lingered like the flush of dawn, And from the opening in His side there rilled A light, so dazzling that the room was filled With heaven; and, transfigured in his place, — His very breathing stilled, — The friar held his robe before his face, And heard the angels singing! 'Twas but a moment; then upon the spell Of that sweet Presence, lo, a something broke; A something, trembling, in the belfry woke, A shower of metal music flinging O'er wold and moat, o'er park and lake and fell ; And, through the open window of the cell, In silver chimes came ringing. It was the bell Calling the monk Gabriel Unto his daily task, To feed the paupers at the abbey gate. No respite did he ask Nor for a second summons idly wait, But rose up, saying in his humble way, "Fain would I stay, O Lord, and feast alway Upon the honeyed sweetness of Thy beauty. But 'tis Thy will not mine, I must obey; Help me to do my duty!" VISION OF THE MONK GABRIEL 31 The while the Vision smiled, The monk went forth light-hearted as a child. An hour thence his duty nobly done, Back to his cell he came. Unasked, unsought, lo, his reward was won! Rafters and walls and floor were yet aflame With all the matchless glory of that Sun, And in the centre stood the Blessed One, (Praised be His holy name!) Who for our sakes our crosses made His own And bore the weight of shame. Down on the threshold fell Monk Gabriel, His forehead pressed upon the floor of clay; And, while in deep humility he lay, Tears raining from his happy eyes away, "Whence is this favor, Lord?" he strove to say. The Vision only said Lifting His shining head: "If thou hadst stayed, O son, / must have fled." 32 ELEANOR C. DONNELLY VISION OF THE WOUNDS Two Hands have haunted me for days, Two Hands of slender shape: — All crushed and torn, as in the press Is bruised the purple grape; At work or meals, at prayer or play, Those mangled Palms I see; And a plaintive voice keeps whispering, "These Hands were pierced for thee." For me, sweet Lord, for me? "Yea, even so, ungrateful thing, These Hands were pierced for thee!" Thro' toils and dangers pressing on As thro' a fiery flood, Two slender Feet beside my own Mark every step with blood. The swollen veins so rent with nails, It breaks my heart to see ; While the same sad voice cries out afresh "These Feet were pierced for thee." For me, dear Christ, for me? "Yea, even so, rebellious flesh, These Feet were pierced for thee!" VISION OF THE WOUNDS 33 As on they journey to the close, Those wounded Feet and mine, Distincter still the Vision grows, And more and more divine; For in my Guide's wide-open Side, The cloven Heart I see, And the tender voice is moved to moan: "This Heart was pierced for thee." For me, great God, for me? "Yea, enter in, My love, Mine own, This Heart was pierced for thee!" 34 ELEANOR C. DONNELLY SIR VERITAS AND THE KING The courtiers gathered round the throne and plied the King with praises: "Wiser art thou than Solomon!" cried they in fulsome phrases: "Greater than David in the prime of all his regal glory; Braver than he of the feudal time, renown'd in song and story: "Thy manly beauty is the theme that thrills the bards with pleasure; The wealth of Ind melts like a dream before thy golden treasure!" So, link by link, they forged a chain to bind their royal master Unto their ends. A cloud of pain, a foreshade of disaster Loomed darkly on the monarch's front. He turned in sudden anger To one who, silent, bore the brunt of all that courtly clangor: Sir Veritas, his oldest knight, his bravest and his wisest : "We pray thee, sirrah, speak outright the scorn thou ill disguisest ! SIR VERITAS AND THE KING 35 "Silent may fare that tongue of thine, but mute are not these glances Which smite our heart with force condign, like stroke of poison'd lances! "Speak, Veritas!" The courtier old stood forth before his fellows, With brow as stern, with mien as bold, as dauntless as Othello's: "I cannot join those sycophants in lauding thee, my sire; For indignation's burning lance hath smote me with its fire. "If thou wert wise as Solomon, and greater far than David, Or hadst thou, lion-hearted one, our cause from ruin saved, "Right gladly would I add my meed to swell thy tide of glory, To bid thee live, in word and deed, renown'd in song and story; "But hear, O King! the bitter truth from tongue that ne'er deceived thee — Thou art a tyrant without ruth — our wrongs have never grieved thee ! "Thy people's miseries have ne'er divorced thee from thy treasures, Their hunger and their gaunt despair have never dash'd thy pleasures! "They groaned beneath their weary load; thine ears have hearkened gaily. 36 ELEANOR C. DONNELLY The ocean of their tears hath flowed around thy footstool daily; "But thou wert blind, as well as deaf; on Self thy thoughts were centred; Lo! to thy closet, hope-bereft, Nemesis now hath entered!" Out leaped the great soul of the King, from eyes with wonder flaming; He glared around upon that ring of serfs, their falsehood shaming; Glared fiercely on those parasites who spake him but to flatter; "Come Veritas — reform these knights — whose coward teeth do chatter! "Reform them in thy valiant school, wherein are fashioned heroes; Who speaks of fame (if knave or fool), confounds our fame with Nero's! "O, Veritas!" — (pride at an end — the strong man's tears fast streaming) — "Praise God for one just, fearless friend, above all venal scheming! "Our premier be thou, henceforth, with wisdom crown'd, and beauty, Who dared to tell thy King the truth, and nerve him to his dutv." NOTES AND QUESTIONS 37 NOTES AND QUESTIONS Unseen Yet Seen 1. Sketch the life of Eleanor C. Donnelly. 2. Name her principal works. 3. What poem of hers is thought to have suggested a theme to Longfellow? 4. How have the two poems been compared? 5. Read these poems and tell what you think about them. G. Quote an estimate of Miss Donnelly and her works. 7. "Unseen Yet Seen," is a descriptive narrative poem. A narrative poem is one that relates a story or an event, as Long- fellow's "Evangeline,' and "Tales of a Wayside Inn," and Scott's "Lady of the Lake." When description is made more prominent than narration, the poem is styled a descriptive narrative; for example, "Whittier's "Snow-Bound," Goldsmith's "Deserted Village," and Burns's "Cotter's Saturday Night." 8. Describe the style of the poem, "Unseen Yet Seen;" its meter and rhyme. 9. What is the lesson the writer wishes to teach? 10. Quote the lines that convey her message. 11. The keynote of a poem is the idea that predominates the whole, the tone that rings through every strain. Find the keynote of this poem. 12. Give the meaning and derivation of the word "ca- thedral. " 13. This " old cathedral " was most probably Gothic. What then were its characteristic features? Gothic Art is that which was invented and used by the people of Northern Europe, who overthrew the Roman Empire. The noticeable features of Gothic Architecture are the prominent towers, the deep 38 ELEANOR G. DONNELLY sculptured doorways, the rose windows, the high-pointed arches, and the external buttresses. The medieval cathedrals were adorned with finely-wrought figure sculpture and rich stained glass. 14. What is sculpture? 15. Give a brief account of the greatest Greek sculptor; of three famous Italian sculptors. (See Biographical Notes.) 16. Give the derivation of the word " Madonna. " 17. What is meant by " wrought into exquisite work such exquisite thought?" 18. Note the figure of diction in line 22. 19. Who is an artist? 20. Name the fine arts. What are the industrial and liberal arts? The fine arts are those which seek expression through beautiful modes, such as architecture, sculpture, painting, engraving, poetry, music, and dancing. The useful, mechanical, or industrial arts are those in which the hands and body are concerned more than the mind; as in making clothes and utensils. They are called trades. The liberal arts include the sciences, philosophy, history, etc' which compose the course of academical or collegiate education. 21. What are " wonders in wood and stone. "? 22. Define " eyrie. " Why "lonely?" 23. Explain " working with hand and heart and eye. " 24. What is meant by " that other and deeper night?" By the "Great White Throne?" 25. Give a word picture of the third and fourth stanzas. 26. Cite two examples of polysyndeton in the first stanza. 27. What stanza forms a beautiful apostrophe? 28. Classify the figures that occur in lines 7, 12, 14, 32, 36, 40, 57, 61, 69, 71, 84, 85. 29. Point out the alliterations of the poem. 30. What scriptural quotation is the basis of fines 79 and 80? Of fines 90 and 91? NOTES AND QUESTIONS 39 31. Develop the contrast found in lines 83-86. 32. Compare the fourth stanza of this poem with these tines from Longfellow's " Builders : " In the elder days of Art, Builders wrought with greatest care, Each minute and unseen part. For the gods see everywhere. BIOGRAPHICAL NOTES The most celebrated of ancient sculptors was Phidias, who lived in Greece about four hundred years before the Christian era. He was designated by Pliny as " before all, Phidias the Athenian." His great work was the ornamentation of the Parthenon with magnificent sculptures, in particular the massive statue of the goddess Athena, within the temple. Tlus statue was forty feet high; the face, neck, arms, hands, and feet were of ivory; the drapery of pure gold. Prominent among modern sculptors are the Italian artists, Ghiberti, della Robbia, and Michael Angelo. Lorenzo Ghiberti (1378-1455), is immortalized by the bronze doors of the baptistry of Florence, which cost him forty years of labor. Michael Angelo said they were worthy of being the gates of Paradise. A sculptor of an entirely different kind was Luca della Robbia (1400-1463). He seldom carved a statue. His subjects were designed on a flat surface, and then from this, the figures were raised in marble, stone, or plaster, forming what is called bas-relief. Most of his work was done in clay so hardened and enamelled — by a process now un- known — as to withstand the ravages of time. It has been his secret held by himself, his nephew, Andrea, and said that the sons of the latter, was inscribed on parchment and concealed in some one of the figures. He is best known by his " Singing Boys. " 40 ELEANOR C. DONNELLY Great as is Michael Antgelo (1474-1564), as a painter, he was scarcely less renowned as a sculptor. His most re- markable work in sculpture is the Julian sepulchre, com- pleted after forty years of toil. The tomb is very small in comparison with the vast dimensions ordered by Tope Julius II, and in passing through the Church of " St. Peter in Chains," one would give it no more than a glance were it not for the marvelous statue of " Moses, " which adorns the monument, and which is undoubtedly Michael Angelo's masterpiece in sculpture. Distinguished among the sculptors of the present time are the American, Karl Bitter, Chief Director of Sculpture at the Louisiana Purchase Exposition, 1904, and Augustus St. Gaudens, an Irish sculptor in America, whose work was brought into prominence at the Columbian Exposition in Chicago, in 1893. SUGGESTIVE PAPERS " Unseen Yet Seen, " and <; The Builders. " (A Comparative Study.) " The Old Sculptor in the Tower. " (A Pen Picture.) " Sermons in Stones. " " Wonders in Wood and Stone. " " Michael Angelo. " " Marvels of Gothic Art. " NOTES AND QUESTIONS 41 NOTES AND QUESTIONS The Legend of the Robes 1. When did Saint Elizabeth live? A famous life of the Saint was written by Montalembert (1S10-1870). a. French author. 2. What event in Saint Elizabeth's life forms the sub- ject matter of this poem? 3. Narrate another familiar legend of the Saint. Mrs. Frances Hodgson Burnett has written a very pretty modern story based on this event, "Little Saint Elizabeth." 4. Give the definition and derivation of "legend." 5. Classification of " The Legend of the Robes." This is a metrical tale, a species of narrative poetry. A metrical tale is a short story told in verse. English literature abounds insuch poems; for instance, Longfellow's "Wreck of the Hesperus - ' and "Tales of a Wayside Inn;" Tennyson's "Enoch Aiden;" Chaucer's "Canterbury Tales;" "The Angel's Story," by Adelaide Procter; "The Ordeal of Queen Emma." by Harriet M. Skidmore (Marie); and "Borgia's Vow," by Miss Donnelly. G. Locate Hungary; Thuringia. 7. Politically, is Hungary now what it was in St. Eliza- beth's time? 8. Name and define the prevailing style of this poem. 9. Select all the compound adjectives. 10. What figure occurs most frequently? 11. Cite eight examples of this figure. 12. Classify the following figures: (a) " Singing the while with summer in her voice." (6) ''That this calm face so sad a mask should wear." 42 ELEANOR C DONNELLY. (c) "Throbbing heart sent up its purest rose To tremble through the olive of her cheek." (d) " Silver voice." (e) "Her soft slow step is herald to her coming." (/) "Silence chains the lords." 13. In what verse and meter is the poem written? 14. Write the scansion of lines 6-11, 31-39, 56-G1. 15. Select and memorize three apt quotations. 16. Find the keynote of the poem. SUGGESTIONS FOR THEME WORK 43 SUGGESTIONS FOR THEME WORK Sketch of the Life of St. Elizabeth. Legends of St. Elizabeth. Review of the Poem. The Sound Picture of the Poem. Pen Pictures — The Latticed Room, lines 1- 64. The Prayer of Faith " G5- 74. The Banquet Scene, " 75-100. A Portrait of St. Elizabeth. Read three of the "Tales of a Wayside Inn" and relate each story in your own words. 44 ELEANOR C. DONNELLY QUESTIONS AND NOTES Little Vestry and the White Scapular 1. What Feast was being celebrated on this occasion? 2. Where is Genoa? 3. Upon what does the fame of this city rest? 4. "He remembered it now, and went in." What les- son is taught in these lines? 5. What can we learn from the action of the beautiful young lady? 6. "She would be glad to know that her ragazinno had kept himself from the low vices of the streets." This passage brings to mind many beautiful stories of the flowers of virtue that have blossomed in an atmosphere of vice. Suggestive — "How He Kept It White," by Father Finn; "The Circus Rider's Daughter," by F. Brackel; examples from the Bible and history. 7. What are the derivation and meaning of the word, scapular? S. Give the history of the scapular. 9. Of how many kinds of scapulars do you know? 10. Where is the Shrine of Our Lady of Good Counsel? 11. What legend is associated with the Shrine? 12. When and by whom was the invocation, "Mother of Good Counsel, Pray for us!" inserted in the Litany of Lo- retto? 13. How many different lessons can be gleaned from this one brief tale? 14. Tell the story of " Vestry and the White Scapular." MEMORY GEMS 45 MEMORY GEMS QUOTATIONS FROM MISS DONNELLY The average woman can have but one mission, one king- dom — that of home. — Home, Woman's Sj>here. Mary's " Magnificat" proves her the first of Christian poets, the wisest of Christian seers. Yet she sang her prophetic song but once, and then only in the privacy of Zacharv's home — then only to glorify her God and debase His little handmaid. — Ibid. "Praise God for one just, fearless friend, above all venal scheming." — Sir Veritas and the King. A bitter personal experience, the agent of a divine will, and the instrument of a divine grace. — .4 Lost Prima Donna. High days and holidays bring with them ever a dangerous atmosphere of temptation. — .1 Funny Story of a Vocation. The poor rejoice when they hear her name, The, babes, at her voice, like flow'rets bloom; She is eyes to the blind, and feet to the lame, And a star-like presence in hours of gloom; For she follows the first of the golden laws: " Forget thyself in thy Master's cause." — A Girl Worth Knowing. 46 ELEANOR C. DONNELLY The vexed question of Catholic education finds its best solution at the fireside. The intellect and heart of the Cath- olic child must be opened, moulded, developed by God's first of teachers, first of preachers, at the altar of the hearthstone. — Home, Woman's Sphere. And e'en if you drop down unheeded, What matter? God's ways are the best, — You have poured out your life where 'twas needed, And He will take care of the rest. — From Poems of the Civil War. There is a little picture framed in sweet forget-me-nots, Which fills within my memory the cosiest of spots; It nestles where the sunlight comes, the earliest and the last; It is the record of a Day, the dearest in the past. — A Red-Letter Day. Ah, it is hard to hold our souls in peace, To keep our spirits sunny, while these things Haunt us like evil birds, and never cease Making the sunshine dusky with their wings! But there is One who understands it all: The Wounded Heart that 'neath the olive-trees, And on the Mount, in bitterness let fall The secret, of Its own vast agonies. And we may trust our faults and failures, too, Unto His love, as humble children should; Content that if all others misconstrue, By Him, at least, our hearts are understood. — Misunderstandings. Look back no more, look back no more, To the Past with its pleasures, false and fair; MEMORY GEMS 47 Beyond with the Blessed we shall find All that we left, with woe, behind: Here, grief and shame; peace, glory, therel Lift up your crosses, and leap aboard; Sing, till the stars shine out above; Over the River of Suffering, Princes, we sail to our Father-King, In His own safe Bark of eternal Love! — Crossing the Royal River. Blessed be God! we may, ou r homely duties, Our commonplace employments, so refine, — That life will blossom with a thousand beauties, And swell the chorus with a song divine! — The Apostolate of the Weak. Life's grandest labors, spiritless and cold, Are but as dust if not ordained by Thee; Love's meanest duties turn to purest gold, Under the touch of Thine all-wise decree. — Prayer of the Faithful Soul. SELECTIONS FROM LAKESIDE CLASSICS FOR GRAMMAR GRADES No. 2 Selections from Washington, Lincoln, Bryant, and McF nicy. Nightingale. 78 pages, Illustrated, 15 cents. 27 Selections from Lincoln, Hawthorne, Webster, Goldsmith, and Tennyson. Enameled covers, 15 cents. 38 The Deserted Village. Goldsmith. With a study by Miss Kavana. 24 pages, 5 cents. 39 Enoch Arden. Tennyson. With a, study by Miss Kavana. 42 pages, 5 cents. 40 The Great Stone Face. Hawthorne. With illustrative ques- tions by Skinner. Price, 5 cents. 41 The Snow Image. H-iwthorne. 48 pages, 5 cents. 42 The King of the Golden River. Ruskin. Price, 5 cents. 43 Pied Piper of Hamclin, and other Poems by Browning. 4S pages, 5 cents. 65 The Ugly Duckling. From Andersen's Fairy Tales. Grades 3-4, 5 cents. 67 Adventures of a Brownie. Part I. Grades 2-4, 5 cents. 70 Stories from Hiawatha. Chase. Grades 2-4, 5 cents. 77 Story of Lafayette. Grades 3-5, 5 cents. 78 Story of Abraham Lincoln. Grades 3-5, 5 cents. 79 Story cf Washington. Grades 3-5, 5 cents. 70 Story of Longfellow. Grades 3-5, 5 cents. 83 Evangeline. By H. W. Longfellow. With notes and introduc- tion. Price.10 cent3. 84 Vision cf Sir La^nfal and Other Poems. By James Russell Lowell. Price, 10 cents. 85 Julius Caesar. By Shakespeare. Price, 10 cents. 88 Living American Authors. By Mary Niver Van Vliet. A series of bright sketches with portraits of fifteen foremost present day authors. 96 piges. Price, 10 cents. 89 Legend of Sleepy Hollow, and Elp Van Winkle. By Wash- ington Irving. Price, 10 cents. 90 A Christmas Carol. Bv Ch-rles Dickens. Price, 10 cents. 91 A Deserted Village, The Traveler. By Goldsmith. Price, 10 cents. ©4 The Chambered Nautilus. Old Ironsides. The Last Leaf. Oliver Wendell Hollies. 11 pifTes. with portrait, an illustration notes and introduction. Price. 2 cents. 95 To a Waterfowl. The Fringed Gentian. William Cullen Bryant. 8 pages, with portrait, notes, and introduction. Price, 2 cents. ©6 The Corn Song. The Euskers. John Greenle"f Whittier. 11 pages, with portrait, an illustration, notes, and introduction. Price, 2 cents 97 The Reaper and the Flowers. The Builders. Henry Wads- worth Longfellow. 11 pages, with portrait, notes, an illustra- tion, and introduction. Price, 2 cents. 98 The First Snow-FaU. A Day in June. James Russell Lowell. 1 1 pages, with portrait, notes, an illustration, and introduction. Price, 2 cents. The publishers will be pleased to forward specimens for examination with view to purchase, and will quote discounts on application. Full descriptive catalogue on application. AINSWORTH & COMPANY, 376-388 Wabash Avenue, Chicago. 19 Milton's Poems. Full cloth bound, revised by Miss Clara Doolittle from the text of Edioburga edition of 1792, 20 cents. 20- Macaulay's Essay on Milton. With two portraits, enameled covers, cloth back. 78 pages, edited with sketch of Macaulay, chronological list of his works, and contemporary authors, also an introduction and sketch of Milton, with pref- atory note by Miss Clara Doolittle, of the South Division High School, Chicago, III., 15 cents- 21. Macaulay's Essay on Milton. Edited by Miss Doolittle, full cloth binding, 20 cents. 22. Macaulay's Essay on Addison. With two portraits, enameled covers, cloth back, 121 pages, edited with sketch of Macaulay, chronological list of his works and list of contemporary British and American authors, by Miss Clara DOO- LITTLE of the South Division High School, Chicago, 111., also containing selections from Addison's papers, The Tory Fox-Hunter, and Thoughts in Westminster Abbey, 15 cents. 23- Macaulay's Essay on Addison and Selections from Addison's Papers. Full cloth bound, 20 cents. 24 Lays of Ancient Rome. By Macaulay, containing Horatius, The Battle of Lake Regillus, Virginia, 10t> pages, enameled covers, cloth hack, with portrait of Macaulay, an introduction and preface condensed from the original intro- duction by Lord Macaulay, with introduction to each selection, and notes. 21 illustrations, 15 cents. 25. Lays of Ancient Rome. Full cloth bound, 20 cents. 26. Selections from Hawthorne and Browning. Enameled covers, cloth back, 144 pages with portraits, introduction, and an analysis or study on each selection, from the structural standpoint, prepared by Miss Rose M. Kavana, of the Med ill School, Chicago, 111.; paragraphs numbered, adapted for supplemen- tary reading for sixth and .seventh grades, 15 cents. 27. Selections from Lincoln, Hawthorne, Webster, Goldsmith, and Tennyson. Enam- eled covers, cloth back, 136 pages, with portraits, 'introduction, and an i sis or study on each selection, from the structural standpoint, prepaved by Miss Rose M. 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Enameled covers, cloth back, contains a sketch of Shakespeare, "His l'eople. His Theater," with a description of the drama; also a short list of reference books, and the dates of the publication of Shakespeare's works. In the back, a series of character studies on the art of Shakespeare, with 28 pages of questions on the leading characters, prepared by Ella A. Shea, of the Covington, Ky., High School. The volume is illustrated, and con- tains references and notes, prepared by Mr. C. L. Hooper, of the North-West Division High School, Chicago, 111., price, 15 cents. 37. King Lear. Same as No. 36, cloth binding, 25 cents. SEP 6 1904 trait. 38 The Deserted Village, Goldsmith. 24 paj LIBRARY OF CONGRESS introduction, the poem, and a serle Kavana, Medill School, Chicago, 111. 39. Enoch Arden, Tennyson. 42 pages, price tion, the poem, and a series of stuc School, Chicago. 111. 40. The Great Stone Face, Hawthorne . 48 paj skinner" 011 ' the story * and " a series ' Y 016 211 831 6 • * ; 41. 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The poem is followed by several pages of questions and suggestions for the study of the poem, with subjects for composition work, suggested readings from Longfellow's poems, and a topical outline of Evan- geline. Also several Biblical allusions with references to line numbers, and a series of questions upon the entire poem. Price 10 cents. 4t>. Selections from Hawthorne. The Snow Image, The Great Stone Face, The Great Carbuncle, enameled covers, 110 pages. 15 cents. 47 Bunker Hill Oration, Webster. 42 pages, containing portrait, introduction, the" oration, and a series of studies and questions, paragraphs numbered, 5 cents. 48. Sir Roger de Coverley Papers, illustrated, with portrait, full cloth bound, con- taining papers from the Spectator, a number of illustrations, introduction, with notes in the back of the book, and an exhaustive series of questions and suggestive material prepared by Carrie E. T. Dracass, of Englewood High School, 25 cents. 49. SELECTIONS FROM ENGLISH POETS. Coleridge— The Ancient riariner, Christabel. Kubla Kahn, France, An Ode. Shelley — Adonais, The Cloud, To a Skylark. Wordsworth — Ode to Immortality, To a Skylark, Elegiac Stanzas, A Picture of Peel Castle in a Storm, bonnets: 1. •• The world is too much with us." 2. " Earth has not anything to show more fair." 3. To the Planet Venus. 4. To Sleep. Keats (with portrait)— Ode on a Grecian Urn, Ode to a Nightingale, Ode on Melancholy, To Autumn. Sonnets: l.On First Looking Into Chapman's Homer. 2. On the Grasshopper and Cricket. Byron — Childe Harold, HI. and IV. Cantos (abridged). 50. SELECTIONS FROM ENGLISH PROSE: Johnson's Journey to ihe Western Islands (abridged), with portrait. Lamb — Essays or Elia (Five). Landor— Imaginary Conversations (Five). Edited with portraits, preface and introduction with notes, intended for secondary schools; about 100 pages full cloth, side stamp. Price 30 cents. 51. Midsummer Night's Dream. With portrait, introduction, brief sketch of Eliza- bethan England, glossary, and notes, 103 pages. Price 15 rents. 52. The Tempest. With portrait, introduction, brief sketch of Elizabethan Eng- land, glossary and notes, 106 pages. Price 15 cents. 53. The Winter's Tale. With portrait, introduction, brief sketch of Elizabethan England, glossary, and notes, 135 pages. Price 15 cents. 54. The Comedy of Errors. With portrait, introduction, brief sketch of Eliza- bethan England, glossary, and notes. 109 pages. Price 15 cents. Other numbers in preparation. The Publishers will be pleased to forward specimens for examination, and will quote terms for introduction and exchange. Full descriptive catalogue on appli- cation. AINSWORTH & COMPANY, 378-388 Wabash Avenue. CHICAGO, ILL.