study a piece of literature that is given. in Indianapolis or Louisville.

The lack of uniformity is further emphasized by noting the variation in the place in the course where a given selection is offered. In the following table, which in a crude way shows this variation for the selections most used, the figures represent the first, second, third, and fourth years of the high school course and the letters represent the first and second semester of the year. Thus 1B is the first half of the Freshman year. The table shows the extreme limits where the selection is offered and in the courses not named it falls between these limits. The Ancient Mariner

1B New York, 4A Shortridge.

Julius Caesar

1A Webster, 4A New York.

Macaulay's Essays

2B Kansas City, 4A three courses. Milton's Minor Poems

3B Kansas City, 4A Shortridge.

Burke's Conciliation

3B Louisville Male, 4A Shortridge. Macbeth

3B Louisville Male, 4B three courses. Silas Marner

1A Louisville Male, 3A Louisville

De Coverly Papers

M. T. H. S.

2B two courses, 4A three courses. Merchant of Venice

1A four courses, 3A two courses.
e. Rhetorical Principles.

While there is in nearly every course an avowal that rhetoric is not to be taught for its own sake, the rhetorical principles mentioned in connection with the study of literature and the practice. in composition make, when gathered together, a somewhat formidable list. The things that most generally receive attention are the forms of discourse; the paragraph, its structure and methods of development; the structure and variety of the sentence, and the usage of words. Four courses offer work in poetic forms. The following outline gives a systematic scheme of work suggested: 1

Correct Form-Headings; Margins; Indentation; Spelling; Punctuation. Forms of Discourse-Prose Forms.

D. Words.

1. Short.

2. Long.

3. Origin.
4. Latin.
5. Saxon.

6. General.
7. Specific.
8. Synonyms.
9. Antonyms.
10. Good Use.
11. Propriety.
12. Precision.
13. Denotation.
14. Connotation.

Qualities of Style.
Clearness.
Simplicity.
Directness.
Force.
Elegance.

Figure of Speech.

Simile; metaphor; personification; allegory; synechdoche; metonomy; antithesis; epigram; hyperbole; climax; apostrophe: apostrophe:

vision; interrogation; exclamation; irony.

Practically none of this work in rhetoric is taught independently. It is made incidental to the work in literature and composition. No course gives work in rhetoric for its own sake as a science.

F. Work in Composition.

All courses follow a definite order in the treatment of the forms of discourse. That order with the amount of time devoted to each form is as follows:

A. Narration. One to four years. B. Description. One term to three and one-half years.

C. Exposition. One year to two years. D. Argument. One term to one year. All courses require composition throughout the entire four years. Eight require weekly themes; one requires daily themes for four weeks, to be followed by four weeks in the study of literature. Four courses require verse writing. Five courses state that practice is given in oral composition. Three courses offer debating during one-half to one year.

The purpose of practice in composition is suggested in a few of the courses. The motives mentioned are as follows:

A. Narration. To encourage spontaneity.

B. Description. To develop accuracy in expression.

C. Exposition. To encourage logical thinking and adequate expression.

Other motives not classified as to form of discourse are "to secure willing expression;" "liking for a good story;" "correctness of sentence structure;" "fluency of expression;" "elegance of expression;" "to secure to the student the ability to express his ideas in an unmistakable way."

Grammar

Five of the courses mention the study of grammar. The particular phases of the subject suggested are as follows:

The use of the noun and pronoun; adjective and adverb; the classification and use of phrases and clauses; the division of verbs into strong and weak; the varied uses of verb phrases; the sequence of tenses and the nice distinctions between subjunctive and indicative. In all the

courses except one this work is made incidental. One course (Chicago) devotes one term to the study of formal gram

mar.

History of Language

No course offers work in Old English, and although Chaucer is studied in several courses nothing more is done with it from the language point of view than to learn the pronunciation. Four courses give work in the history of the language. History of Literature

Seven courses give work in the history of English literature and three in the history of American literature. In every case this work is incidental to the study of classics.

Correlation of the Several Phases of the Work

There is evident attempt at correlation of the several phases of English. Grammar and rhetoric are made incidental to the work in literature and the work in composition and seem to serve somewhat as a connective between the literature and composition. In three courses there. is the attempt to correlate the work in literature and composition to the extent of making the work in composition depend entirely on the work in literature. Influences Affecting the Course

So far as I can discover there are five forces that have exerted a marked influence on all these courses. They follow

in order:

a. The Committee of Ten. b. The College Entrance Require

ments.

C. Barrett Wendell's English Composition.

d. Scott and Denny's Paragraph Writing.

e. W. F. Webster's paper before the N. E. A. at Washington, D. C., 1898.

A. The Committee of Ten made eight important recommendations covering the English course in the high school. These recommendations deal with the amount of time to be spent on the course; upon each of its divisions; and with the relations that should exist between the different divisions of the subject. The courses I have studied conform in every essential regard to the recommendations of the committee. This committee has probably been the most potent factor in shaping the secondary English work America.

B. The influence of the College Entrance Requirements is best seen in connection with the number of classics used in more than one course. Every classic that occurs in as many as seven of the courses is one of the requirements for 1905; and no college requirement is omitted from more than three of the courses, excepting the Essay on Burns and The Princess, each of which occurs in but four of the courses.

C. In 1890 Professor Barrett Wendell published his discussion of style entitled English Composition. Excepting the

forms of discourse I have been able to classify almost all the rhetorical principles given in these courses practically as he grouped them in his book. I think there can be no doubt of his influence in this connection.

D. The methods of paragraph development suggested in a number of the courses are those set forth in Scott and Denny's Paragraph Writing.

E. The evident tendency in several of the courses to place large emphasis on the correlation of composition teaching with the work in literature would seem to be traceable to the paper read at the N. E. A., 1898, by W. F. Webster.

(If the town would flourish It must educate the youth.)

What is true of the town is true of the state and of the nation.

The state is not only a governmental union of citizens for the protection of

the individual against an outward foe, it has other duties; one of them, perhaps the most important, is the education of its constituents.

As the single citizen lives under obligations to the state in order that the governmental regime may be preserved, so the state should undertake the duty of looking after the welfare of its members. They fulfill their obligations chiefly through obedience obedience to existing laws, which are enacted for the preservation of the unity; whereas the state must endeavor, through a systematic education of the individual, to foster those human qualities which will lead mankind to its greatest perfection. As the thought is the father of knowledge, so the sentiment creates the idea of beauty and the striving for an ideal. Together they form the nucleus for progressive activity; and the state that possesses the best institutions for the development of both will be in the lead in industrial conflicts.

The modern battles amongst nations are not battles fought with bayonet and bullet for the acquisition of land, but are mainly strifes for industrial supremacy.

Look at little Switzerland. This land full of natural wonders but also full of industrial enterprises. Her commerce has long been larger in proportion to her population than that of any of her continental neighbors, mainly because of the great skill and taste of her industrially educated workmen.

What has America done for the direct education of labor, or, perhaps better expressed, for an industrial education? By the term we mean, so far as this country is concerned, a preparation for industrial pursuits equal to that which our schools usually give for college or business and not an actual teaching of trades, although this latter applies best in speaking of other countries.

To avoid a misunderstanding, let us keep this constantly in mind. In the United States a great general culture has been developed, through the agency of our public schools, but for the industrial pursuits comparatively little has been done; whereas in almost every state of the continent at present the two lessons

-industrial education and general culture are successfully combined. Thus we find in the workshops of the continent millions of men and women who have been trained more or less efficiently in art and science applied to industry.

It is true, in late years drawing has found its way to a certain extent into the elementary grades of our schools, and this more through efforts of private concerns than through the official advice of the state. An art department in the high school is not common even now, except in the larger cities, and there usually manual training has also found a footing. In the state normal schools and universities, the art departments are almost all in a crippled condition. These institutions turn out professional men and women who can take up as instructors almost any line of work connected with our public schools; but I do not know of one of these state institutions that gives a training in the different branches of art, such as is needed for instructors of a thorough art department in our high schools.

Superstitious beliefs and with them. their powers disappear gradually and thus the state will become more and more dependent on the ethical forces of the arts. Good and beautiful are one, as morality and beauty are in their innermost essence identical. The development of the ethical powers through the works of art alone would give sufficient ground why the state should foster the arts and why it should give the necessary · encouragement and the necessary means for the general diffusion of such knowledge. The ideal regime, in which our actions are largely governed by the laws. of beauty, may yet be far off, that is true. But there is another ethical consideration which calls for a higher appreciation of the arts by the state, and that is the economical. For as art by shaping the sentiments plays an important part in education, so it does in the market value of our industrial products.

There is scarcely any limit to the value taste can confer upon a subject through beauty of form or decoration, however inexpensive the raw material may be.

a

Skill and taste are the products of education; they are of a cosmopolitan character and grow on every soil by the right education, which gives the citizen schooling in thinking in words, and also in thinking in things. Naturally we can not create artists, but we may educate mankind to appreciate art, and thus gradually may become an artistic feeling nation, out of which the artist will spring.

From the economical standpoint art is the very branch of the industrial world which earns most and which, therefore, is most suited to increase wealth. France is a rich agricultural land on account of the richness of its soil and its favorable climatic conditions, but notwithstanding this fact it has enriched itself enormously through the creation of its various art products.

Napoleon, recognizing the vital importance of art in the development of a country, took vigorous measures to promote art education in his domain. There is scarcely a school in France where an elementary acquaintance with the arts is not given; even the primary grades having some art instruction. Further, local pride tends to foster the art instinct there as perhaps in no other country. A youth who shows peculiar aptitude for drawing and painting is usually encouraged and aided by the public purse to continue the cultivation of his gifts. The fruits of all this movement are very gratifying. Millions of dollars pour yearly into France, because its industrial products are highly appreciated the world over. Why do Americans as well as people of other nationalities go to Paris year after year in such large numbers? The answer is simple, to see and to enjoy the wonderful works of art in that city. Many of the old German towns are in a flourishing condition, because the forefathers of the present generation made their homes attractive; they were art loving folks; they not only decorated the interiors of their houses and all things connected with them, but took great pride in the architectural structure of their buildings, private or public.

Think of Nuremberg. The whole year round the town is overrun by sight-seers

who enjoy the art products of centuries past. Does it pay to be artistic? The last summer when I was in Munich and stood in front of the villa of Franz von Lenbach whose earthly remains were only shortly carried to their last resting place, it struck me forcibly what a large sum of money this man had brought to this city. Von Lenbach, of late years one of the foremost German portrait painters, received the average sum of $10,000, as I am told by good authority, for one portrait. During the last ten years Lenbach painted at least two portraits a year, which would net a sum of $20,000, which this man alone brought to Munich, his adopted home. It is plainly seen how well it pays to encourage and foster art and induce artists to make their home in one's own land.

The economical value of art productions is more fully understood, when we consider with how comparatively_little expense art work is connected, whereas other industries usually need the assistance of large capital. Further, the value of art products does not decrease day by day as almost all purely industrial products do, on the contrary, the value increases from year to year.

The smaller industrial art products, the easel pictures, the smaller pieces of sculpture, do not directly depend on the state for their creation and market, provided the state looks after a proper education of its people. But the larger productions of a monumental charactersculptural as well as pictorial or decorative-depend greatly on the collective power of the state; this has been so in the past and most likely will always remain so. Of the educational value of such products there can be little doubt, and as such public works of art are the only ones exposed to the public in general the state may most wisely and profitably become the patron of art. In this respect our nation has done comparatively little, when we consider the vast opportunities it has had. The mural paintings of quite a number of hotels, of churches, as Trinity Church, Boston; St. Thomas, New York; of public libraries, as public library, Boston, etc., give a