I. Beginning back at each mistake.

Note.-Name a certain number of lines (perhaps three or four) which each pupil may read, requiring the reader to begin back at the beginning every time a mistake is made,* until there are no longer errors for special criticism. This method makes careful and accurate readers.

II. By competition, each reading the same stanza.

Note.-Allow each member of the class to read the same stanza or division of prose, to see who will make the fewest blunders in once reading. Impress the pupils with your desire for their success, and this method will prove a good one. III. By alternation of class divisions.

Note.-Divide the class into two or more sections, and request the pupils of each section to read in concert the successive lines, couplets, or stanzas in the lesson. Section A reads two lines, Section B the two following, etc. This keeps all the class occupied and attentive.

IV. By couples.

Note.-Allow the pupils to read in couples (A and B together, C and D together, etc.) any division of composition, as a sentence or a stanza, until all the class have read. Each pupil can read in this manner twice as much as one could singly, without materially hindering the teacher from detecting individual errors.

V. Looking off as much as possible.

Note.-Let the class read in concert, by couples, or singly, looking off the book as much as possible, in order to train the eye to see ahead. Every person who is able to read new or strange composition well must be able to see more than the solitary word he is pronouncing. Choose simple verse at first, that can be easily seen and retained. Try to see the whole line at one glance.

This method adds materially to the grace of a reader by giving the hearers frequent and continued expressions of intelligence and emotion through eye and gesture. In this way a person of quick comprehension and close memory can render a written or printed discourse almost like extemporaneous matter or improvisation.

*See Errors of Speech, pages 34 and 37.

VI. Repeating after the teacher.

Note.-The teacher reads a line or sentence, and the class repeats the same in concert, copying the model, either with closed books or with eyes upon the passages rendered. Again the teacher reads, and the class repeats, and thus continues to do until satisfied. If the teacher be a good model, the class will gain much by imitation; if not, then the method is not so safe.

VII. Repeating after each member of the class.

Note.—In this method the pupils successively assume the rôle of teacher: i. e., A lines (reads line by line) a division of prose matter or poetry, and the class repeats the same line by line. Next B lines, and the class repeats. C and D follow, until each member of the class has lined a portion of the selection for the rest to repeat. This method keeps the whole class at work, and renders many of them laudably ambitious to become good models. (A line or couplet each, and the class repeat, is a variation of this method, keeping the whole class busy.)

VIII. By alternation-class and teacher.

Note. The teacher reads the line, couplet, or stanza, and the class reads the next line, couplet, or stanza in concert. In this method, if the teacher reads clearly and forcibly, there is something contagious in it, and the class will do better for the example and comparison.

IX. By call by number.

Note.-Number the pupils of the class, and call them by these numbers in the succession in which you wish to hear them read. The one who is reading should cease the in stant a new number is called by the teacher, even if in the midst of a sentence, phrase, or word, and the one whose number is called should commence immediately where the last one left off.

If the new number fails to commence aright, call another; if the place is still lost, call a third. Continue the exercise, if possible, until all the numbers have been called and have responded. There should be no talking or whispering during this exercise, as it would create unendurable confusion. It exercises the memory of teacher and pupils, in order

that the former may know what numbers have been called and about how much each has read, and that the latter may be able to rehearse any errors in the review. Indolent and inattentive pupils should be called oftener, that they may learn to keep pace and place. This method develops the power of concentration.

X. Appoint a critic, or critics, whose business it is to point out and correct errors of each pupil in turn as he or she has finished reading a certain number of lines.

Note.-Appoint two critics, and name them "Critic No. 1" and "Critic No. 2." Divide the selection into portions of three lines each, in order that all may read, and request a member of the class to commence reading.

When the three lines are read the reader ceases, and it is the duty of Critic No. 1 to rise and enumerate and correct each and every mistake that he or she has observed. When done, Critic No. 2 rises, enumerates, and corrects all errors that he observed which Critic No. 1 overlooked.

After the appointed critics are done, let the remainder of the class signal any unmentioned error by raising the hand. The teacher then points to the one who shall be heard first, and all signaling the same mistake drop the hand; thus continue until all errors noticed have been corrected. If any errors remain unnoticed by the class, it is the teacher's duty to correct or point them out. Recollect no criticisms are to be repeated, and no one to speak but in order. This method fixes the attention of the entire class, and renders them critically observant during each exercise.

Occasional Methods.

I. Reading to a mistake judged by the teacher.

Note.-Let the class read in the usual order of succession, each pupil stopping at the first error corrected by the teacher, and the next one in order correcting the mistake and reading on until he also is corrected. The fault in this method is that the best readers read longest, and those who need the most training are comparatively inactive.

II. Reading to a mistake judged by a pupil, who corrects the error, and proceeds to read from that point.

Note. This method is very like No. I., except that the errors are discovered and indicated by the uplifted hands of pupils. If more than one hand is raised, the teacher points to or otherwise indicates which one is to read next. That pupil corrects the mistake and continues to read until another criticises and is appointed to read. This method tends to render pupils attentive, careful, and critical.

III. Reading any where the Reader is opened.

Note.-Let each pupil, when about to read, first close the book, then rise, open it, and read whatever his eye first rests upon. If any member of the class is unable to catch both words and meaning, the reader must repeat, reading over and over again what he has attempted to read, until it is at least clearly intelligible to all of the class. This method makes intelligible readers.

IV. Reading medley. All read at once in different places. Note. In this method each pupil should have a book; but if two must use one, let them read together. Arrange the class in single or double lines, so that you can pass near and speak or listen to a pupil at will. There should be at least as many lines in the selected poem as there are pupils in the class, and all lines equal in length. The best voices should be placed at the head and foot of the class. No. 1 commences to read; when he has finished one line, No. 2 begins at the first line; when he has done the line, No. 3 begins at the first line, each one in the class following in the same manner until the whole class are reading at once.

No two read the same line at the same time. No pupil is to stop, after he has begun reading, until the poem is finished. The surest way to start this exercise, if the teacher can endure the fatigue, is to pass from pupil to pupil, and read the first line of the poem with each one in class; then, if no one stops prematurely, the whole class will be reading when the teacher is through.

This method strengthens the voices of timid pupils who are unable to let out their voices to the fullest extent alone. It also renders pupils independent in recitation by the concentration necessary to read amid such a confusion of voices. V. Reading two unlike pieces by alternation.

Note.-Select two contrasting pieces, and let the class read in concert a few lines of each, alternating from one to the other. If one is grave and the other brisk, let the number of lines of the brisk piece be two to one of the slow or grave piece. This method, as well as all other methods of contrast, enhance the power of personation, the life of drama or dialogue.

VI. Reading-match, choosing sides.

Note.-The teacher designates two of the class as leaders, who choose readers for their respective sides precisely as they used to do in "spelling down." The teacher may act as umpire, deciding mistakes. The contestants stand facing each other, if convenient, and No. 1 commences reading. When a mistake is observed, the umpire cries "Halt!” and the reader takes his seat. After No. 1 of the first division has read, No. 1 of the second division proceeds to read, and continues till called by the umpire. In this way the class is reduced until one remains alone. There is, however, the same objection to this method that there is to No. I. and to spelling down, both of which deprive the poorest pupils of the most exercise. To give the poor readers equal drill, this method can be conducted in the following manner:

Divide the selection into divisions of a certain number of lines, and allow each pupil to read a division, keeping a tally of the mistakes on each side, to compare when through the exercise.

The reading-match is exciting, and of great service when the class seems dull and listless.

VII. Reflection. "See thyself as others see thee."

Note. In this method the teacher needs to bestow great care, and have an almost intuitive perception of the emotional nature of each pupil, otherwise grief, mortification, or anger may be displayed during the exercise. But if the teacher be kind-hearted and magnanimous, the pupils feel it, and will bear a great deal. There should be no ridicule or sarcasm in the mimicry, and then the looking-glass method will prove safe and profitable.

First, then, begin with the bravest scholars in the class, and not with those timid, shrinking ones who feel a lump in