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II. THEME SUBJECTS.

1. Classification of Shakespeare's Historical Plays.

2. Classification of Shakespeare's Dramas.

3. Story of Prince Arthur.

4.

5.

Commodity, the bias of the world.

The Women of the Drama, King John.

6. Historical Inaccuracies in King John.

7. Faulconbridge and the Archduke of Austria.

8.

Scene between Hubert and Arthur in the Tower.

9. Expediency-the motive of action throughout the play. 10. Part played in the Drama by the Citizens of Angiers.

III. TEST QUESTIONS.

1. What was the basis of Prince Arthur's claim to the dominions of his deceased uncle, King Richard I?

2. What circumstances make the reign of King John a turning point in English history?

3. From what historical writings did Shakespeare derive the outline and setting of his historical plays? From what source did he derive the plot and treatment of King John?

4. What was the significance under Feudal law and custom of the act of King John in delivering his crown into the hands of the Pope and being reinvested with it again at the hands of the papal legate?

5. Explain the terms Plantagenet, Coeur de Lion, dauphin, citizens, Lincoln Washes.

6. Make an outline from your history of that portion of King John's reign covered by this drama, with proper dates. Point out the differences.

7. Point out one noticeable anachronism in this drama.

8. Designate the scenes of the drama which turn on (1) the treachery of King John; (2) the death of Arthur; (3) the grief of Constance.

9. Explain and justify the expression used in Note 23, "more contemptible than odious."

10. What impression does the scene between Arthur and Hubert make upon you? Relate briefly the story of the scene. Describe the manner in which Arthur meets his death.

11. Give the setting for, To me and to the state of my great grief, let kings assemble. Identify Constance and Elinor and give brief character sketches of each.

12. With the text before you, copy passages from Act II which state the following facts:

1. There are chalk cliffs on the coast of England washed by the sea.

2. King John is marching straight to Angiers.

3. Prince Arthur resembles his father Geoffrey.
4. Many a man lies dead on the field.

5. If the dauphin will marry Blanche, she shall have for
her dowry our French possessions.

13. Write a character sketch of Faulconbridge. What purpose does he serve in the play? Show that he is a brave soldier.

14. Point out those scenes whose motive of action is expediency. Quote Faulconbridge's characterization of expediency.

15. Quote the last three lines of the drama. What useful lesson does Shakespeare teach in these lines?

16. Quote the line that tells you whether or not Elinor believes John's claim to be a just one. What relation is Elinor to John? to Constance? to Arthur? to Blanche?

17. State the terms of the compromise proposed by the citizens of Angiers. What share in this compromise was Arthur to have?

18. What offence against the Church had John committed? Enumerate the scenes of the play that are founded on this fact.

19. Who do you think is the most interesting character in the play? Why do you think so?

20. What part is played in the drama by the rebellious English lords? What influence do they have on the fortunes of King John? What brings them back to their English allegiance, finally? Shakespeare uses them to point a moral. What is it?

21. Discussing the French invasion of Act V, a critic says: "The breath that blew the coal wants power to quench the fire." What is the meaning of that sentence in this connection?

22. From the word study of the notes in this outline, make a glossary arranged alphabetically.

23. What is the only episode approaching the humorous in this whole play? State the whole significance of the lines, Thou wear a lion's hide! doff it for shame,

And hang a calf's skin on those recreant limbs.

24. Give the context for each of the following expressions and explain the allusion: An Até stirring him to blood and strife, St. George that swinged the dragon, the shears of Destiny, Mercury, new Amazon, Neptune.

25.

Mention other characters than those enumerated in the character study of this outline, and state the part played by each in the development of the story.

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THE PEPPER TREE

Our front yard pepper tree is a lady fair,

The two winds are brave knights, courting her there;
The North Wind blusters, and pulls out her leaves or hair,
And then rushes, howling and defeated, back to his lair;
But the South Wind woos her and makes her grow,
He stays there evermore, whispering soft and low.

MURIEL ARDATH (age 9).

These are specimens of a large number of equally beautiful short poems written by young Children, in the Hollywood School for Girls. Los Angeles, California, and sent to us by Leah Press Lovell, Director of Experimental Group in that school. We believe that they will prove suggestive to other teachers.-The Editor.

The College Extension Departments and the

Study of Music

JOHN ROSS FRAMPTON, PROFESSOR OF PIANO AND ORGAN,
IOWA STATE TEACHERS COLLEGE.

S

OME time ago the United States Bureau of Education issued a complete list of schools maintaining extension departments. There are 90 names. The Extension Department of the Iowa State Teachers College mailed a questionnaire to each school, asking a limited amount of data concerning the work done in music. Answers were received from 66 schools, or about three-fourths of the entire number. It seems probable that seven or eight of the schools which sent no reply are doing some extension work in music. Probably 16 are not. Possibly these latter thought that the negative answer of not returning the questionnaire was equivalent to a definite statement that they are not doing any work, but the statistics of this article are based only on actual reports received. Although the 24 non-reporting schools might alter some percentages here given, still the report based on positive data is probably representative.

Forty-one of the 66 definitely disclaimed any activity in music. This leaves a trifle over a third which do offer music, and this is about the same percentage as in the rough estimate given above for the non-reporting schools. If one considers that several of the above schools are technical, and that music cannot possibly belong in their curriculum, this percentage is not surprising. It is interesting, however, to find schools which offer music-and in some cases strong courses in music-intramurally, but which fail to present it in extension, especially where these schools are state universities, and when we consider the general attitude of state schools towards extension work.

Forty of our states maintain state universities, among which

32 offer music. Thirty-five have extension departments, but re`ports were received from only 31. Of the 31 reporting, 27 offer music on the campus, yet only 15 give it in extension! And of those giving it, one has no instructor of music on the general faculty! The questionnaire did not disclose the reason for these conditions. There may be several reasons why schools do not utilize their music faculty in the extension work. The legal status or the finances of the extension department may not permit it. Or teachers may be too busy to undertake the severe strain of extension work, or they may not approve the general plan and methods of such work; or the extension executive staff may not feel confidence in the music members of their faculty, or may not appreciate the value of the study. But when viewed from a different angle, the state universities average very well indeed. For while there are hundreds of colleges in the country, 38 per cent of all the extension departments are in state universities, and 60 per cent of the schools reporting music offered are state universities.

Music work done by extension departments may be classed roughly under two heads. In the first place, let us consider actual instruction. Most musicians seriously question the efficiency of music instruction by correspondence, yet 14 of the 25 schools which reported any form of music activity in extension, so offer it. This does not mean "applied music" (instrumental or vocal) but theoretical work. Of course the questionnaire could not obtain any data as to the quality of the work offered, or actually given.

It is surprising how few schools offer courses in public school music, especially when we consider that most of the grade teachers in America must handle this subject, somewhat, in their own rooms. Only 8 of the 25 reported this subject in its various phases, some offering "music in the grades," some "music in the high schools," some "sight singing."

It is not surprising that harmony should be listed by 19 of the 25 schools. This is the most elementary branch of the composer's art which receives college credit in most schools. It is essential to an understanding of any work studied by either instrumental

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