threads, and, when the piece is finished, bring together the results in a synthetic review. It should be kept in mind. that the larger problems will assume definite shape only after the selection has received some study. Appreciation is a synthetic process, the completion required by Interpretation, which is analytic.

Besides attempting to reach a definite, rational conception of a piece as an organic unit, there is a further step involved in appreciation, namely, that of noting how it is related to other literary productions of its kind,—an attempt, in short, to ascertain its position historically.

The special characteristics of a work taken up at this stage of the study require time for reflection. The problems should, in fact, always be so formulated that the pupil, in dealing with them, will be necessitated to hold them before his mind for some time; concentration of attention and efforts at steady thinking are essential. The final result may be given either in a brief paper or in written propositions to be presented in full orally. Several topics of the kind mentioned, together with suggestions and questions, are appended to this discussion.

DISCIPLINARY OR CONSTRUCTIVE WORK. Though this kind of study does not apply (except in a special sense) to the poem "Evangeline," it is still mentioned here for the sake of the completeness of the outline. In the study of modern prose-writers, particularly the essayists, the teacher will find a most valuable aid in teaching composition. Here literary study and composition-writing go hand in hand. After reading the sentences and paragraphs of Thoreau, Burroughs, Hawthorne, Stevenson, and Macaulay, the pupil should be able to make his own sentences and

paragraphs better in point of form. In the class of writers mentioned the teacher may adapt the work so as to afford some training like this, and still be fairly within the province of literary study.

So far as this line of study can be applied to the present poem, it will take the form of an examination of the more primary principles that govern the movement of verse. A few of the topics to be taken up should be: The general character of the hexameter; the kind of foot that prevails; the difference in rhythm imparted by the use of the dactyl and the spondee respectively; the function of pauses; the distinction between "end-stopped" lines and "run-on” lines, etc. A good deal is accomplished if the pupil has been led to give reasons for the movement of any certain line, and to tell whether or not it follows the thought closely. A few such exercises are included in this plan.

Historical Basis and Occasion of the Poem.

The wars waged between France and England during the eighteenth century extended to their colonies in America. The Peninsula of Nova Scotia, which had been alternately in the hands of the French and the English, was finally ceded to the English by the Treaty of Utrecht in 1713. The inhabitants, who were of French descent, were not much disturbed by the change of government until the French and Indian War, 1754-1763. They were then required to swear allegiance to the English. Many of them, however, refused to become assimilated with this people, alien to them in customs, language, and religion. It was then that the English resorted to the cruel expedient of

banishing them from their homes and their country. They were unexpectedly summoned to their places of worship, made prisoners, brought on board English transports, and carried to the New England colonies and the South.

In regard to the occasion, it is related that Longfellow got the first suggestion for the poem while dining one day with Hawthorne and a friend of the latter, Rev. Mr. Conolly, of Boston. This gentleman stated "that he had been trying in vain to interest Hawthorne to write a story upon an incident which had been related to him by a parishioner of his, Mrs. Haliburton." He then related the substance of the story. Longfellow was touched by it, and told Hawthorne, "If you really do not want this incident for a tale, let me have it for a poem"; and to this Hawthorne consented.

When were the earliest French settlements made in North America? Ascertain the geographical location of Acadia. What was the form of religion of the Acadians? What was their chief employment? Describe as vividly as possible their environments. Were they in close communication with England or France? What was England's purpose in dispersing the settlers among her colonies? Would the material of this tale have been well suited for a prose romance in the style of Hawthorne? What features of the story had, in all probability, chief attraction for Longfellow?

The sources and references of which the poet makes constant use are mainly of three kinds:

(a) THE SCRIPTURES. The expressions and the language as well as the thought and spirit of the Bible are before

the poet throughout. Of the sources and direct references, those pertaining to the Scriptures are the most numerous.

Find instances where Scriptural sentiments and language are made use of in the utterances of the characters. Also, find instances of their occurrence in the descriptions and explanations given by the poet. Is it perfectly in keeping with the character of the people to find them making frequent reference to the Scriptures? What general tone is infused into the poem by these references? In respect to their religious character, what noticeable difference between them and the Puritans as portrayed in the "Courtship of Miles Standish"?

(b) FOLK-LORE AND HISTORY. Part of the poet's plan was to bring these people before us in their individuality, to single them out as a distinct community with its own marked characteristics of thought and feeling. To do this he lets us know of their descent, and of the ancestral traditions preserved and cherished among the hardships incident to their seclusion.

Point out passages containing quaint beliefs and superstitions. Give instances where these beliefs have evidently been handed down as part of their ancestral traditions. Find also cases where they seem to be based on their present environments. What effect does the poet have in mind in weaving bits of folk-lore into the story? Are there anywhere in the story any touches of mysticism? Note whether their church service, betrothal ceremonies, domestic customs, or amusements present them as attached to the customs of their forefathers. Do the historic allusions throw any light upon the patriotism of the Acadians in

such a way as to show to whom they thought they owed allegiance? Are these touches and descriptions of their character given as separate bits of information, or are they brought in as organic parts of the story?

(c) PIONEER LIFE AND INDIAN TRADITIONS. The second half of the poem is made up largely of Western life. The descriptions are, in general, brought in as accounts of the life and employment of the exiled Acadians-coureursdes-bois, voyageurs, hunters, and trappers. There is a good deal, too, of voyaging on the Ohio and the Mississippi, of camp life, plantations, Western ranches, of travel on the plains and in the mountains, of the early mission stations, etc. This also requires the constant mention of localities, which aids in imparting a distinct Western tone: Ozark Mountains, Opelousas, the Oregon, the Nebraska, Wind River Mountains, Sierras. The tales of Mowis the bridegroom of snow, and of the fair Lilinau, enrich the poem with Indian legends. A similar touch is found in the weather forecast by the Indians (156).

What was their usual hour for retiring? What custom is hinted at in line 260? Single out passages remarkable for local color. Mention some customs that will at once be recognized as true of a people in their situation. What expressions and descriptions bring the pioneer conditions before us most vividly? Point out passages in which Indian traits are depicted. Show how the appellation, "Black Robe Chief," is in truthful harmony with the environments. Was it part of the poet's plan to present a complete and fully developed picture of any Indian character?