OUR

ENGLISI-l

A TEXTBOOK IN COMPOSITION
AND GRAMMAR

BOOK TWO
ll y

MAIZY FO'.\J TAINC LAIDLEY
f'ornwrlv ~ 1 1pcn· i c.:.r)f of E11 1~l i~ h in
Cliar k st ,_ in, \\' r ::; l \"in.:: i 11 i:l
/\1 -:q T c:H ·hn of l·:w!li c;h i11
T he Linco ln !-;chou l ui T cccc\1c-rs College

AMERICAN BOOK COMPANY
C IN CI NNATI
NEW YORK
ATLANTA
BOSTON

CHICAGO

4

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COPYRIGHT, 1922, RY

AMERICAN BOOK COMPANY
All rights reserved
L.\ IDLEY'S OUR ENG LISH

E. P. ,2

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MADE IN

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PREFACE

Our E nglish deals with language as a living, growing thing.
It is built on the principle advocated by Dr. Charles Sears
Baldwin that the teaching of composition should be promotive, not merely corredive. It aims to stimulate in children,
a desi:-e to speak and to write; it points out the way to clear'
expression ; and it sugges ts situations that are actual realities
to children. Group work and projects are freely used. The
material for composition is drawn largely from the class work
in other su.bjects and the free activities in which children are
interested.
The work in Book Two is not theoretical, but is the outgrowth of many years' experience with boys and girls.
Nothing is here presented tha t has not been used with
good results in actual classroom practice.
Teaching children to read intelligently is one of the most
important functions of the school. In Part One of this book
!-leveral chapters are devoted to silent reading.
Grammar is treated not as an end in itself but as an aid
to effective speaking and writing. All merely traditional
grammar has been discarded, and only those principles have
been retained that apply to language as it is actually used.
The terminology employed is tha t recommended by the
Joint Committee on Grammatical Nomenclature appointed
by the National Education Association, the Modern Language Association of America, and the American Philological
Association.
Through practice and through practice alone pupils learn
to speak and to write correctly and effectively. The exercises
iii

~U.f-'~\GSTOWN

UNIVERSl11so179
LIBRARY
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PREFACE

in this book afford abundant opportunity for practice. Any
practice to be valuable must be guided; no book can take
th e place of a teacher. The book presents materials and
objectives; the teacher must see that the materials are
rightly used and that the objectives are reached . A Plan
of Work by Weeks, in which the material is definitely assigned,
will be found in the Supplement.
The selections from Longfellow, Hawthorne, and Emerson
are used by permission of, and by special arrangement with,
Houghton Miffiin Company, the authorized publishers of
their works.
Acknowledgment is due to the American Book Company
for permission to use selections by the following authors:
Fanny E. Coe, .M. F. Maury, Charles E. Finch, George W.
Hunter and Walter G. Whitman.
The author gratefully acknowledges her indebtedness to
Dr. Franklin T. Baker of Teachers College, Dr. Otis W.
Caldwell of the Lincoln School of Teachers College, and
Mr. Edwin Fairley of the Jamaica High School, for helpful
and constructive criticism of the manuscript; and to George
S. Laidley for his encourage ment, his criticism, and his help
in every stage of the undertaking.
MARY FONTAINE LAIDLEY

CONTENTS
PART ONE
PAGE

I. Organizing a Club
PAGE

What th e Club Does
I [ow to Beg in
Constitution
Officers
Ad optio n of th e Constitution .
Elec ti on of Officers
Qu estions on Parliamentary
Practice . . . . . . . ·
Reports . . . . . . . . . ·
Correct Usage - Sit, Set, Sa.t

Make-up of Copy . . . .
AccO UlltS of Club Activities
Correct Usage - M(J,y, Can .

2

s

Th e Seeing Eye
Picture Study .

6
7
7

Correct Usage -

L ea:rn, Teach

Need for L etters
Letters Should Be D efinite .
Letters Should Arouse Interest
. . . ... · · ·
Accep t ed Forms for Letlers .
Clearness and Brevity . . .
R eference to Previous Correspondence . . . . .
Coming to the Point
Spelling . . . . . . .
Correct Usage- Negatives

8
8
IO
IO
IO
IO

18
20

2I
2I
21

22

24
24
24
24

25

I2

VI. The Sentence

I 2

Clearness and Exact State-

I3

ment . . . . · · · ·
R ecognizing a Sentence
Sub ject and Predicate .
Words That Express Action .
The Predicate Verb . .
The Subject Substantive • .

III. Writing News Items for
the School Paper
The Valu e of a School Paper .
Co ntributio ns t o the Paper .
Subjects for News Items . •

16

V. Letter Writing

II. A Club Program
The Program Committee .
Suggestion for a Program
Preparatio n . . . .
Givin g the Program
The Audience .
Class Comment
Suggestions for Class Criticism . . . .
Let ter Writing

rs

IV. The Study of Pictures

2

3

15

I4

IS
IS

v

26
26
27
28
29
29

vi

PAGE

M od ifiers . . . . .
Predicate Verbs That
Express Act ion
Co lorless Verbs . .
Cor rec t Usage - To,

. . . .
Do Not
. .
At

30

32
34

35

VII. Kinds of Sentences
D ec larative Se n te nces
r nterrogat i ve Sentences
Exclamatory Sen te nces .

36
36
36

Ad~r~

37

38
38
~

Adverbs Formed from J\dject i ves .
Ad jec tives in th e Predicate .
Correc t Usage - Th is , Tluit .
Picture Study .

41

42

44

Szn t::nce>
45
47

XI. Friendly Letters
Exam pl es
An Un s ucc essfu l Time Sc hedule Leller
Letters to W ri le
Corr ect
Usage - Burst,
Drowned

55
59
60
61

XII. Clear and Effective Speech
I-lavin g Somet hing lo Say
Distinctness in Speaking
Common Speec h Fau lts
Speaking over Lhe T elep hone
Preparatio n for Speaki ng .
Correct Usage - Come, Came

62
62

64
66
66
70

49

50
50

XV. Number
Si ngular a nd P lural of Nouns
and Pronouns . . .
Sin g ular and P lu ra l of Verbs .
Agree ment of Verb and S ubjec t
. . . . · · · · ·
Cor rec t Usage - !V as , W ere .

Sr
81

XVI. Case of Nouns and
Pronouns
Case D epe nd s on Use
No mina tive Case
Obj ec ts of Verbs .
Trnn sitive Ver bs
:\ ccusat\ve Case .
l'rcclicate No minat ive
Gen itive Case . . . .
Correct U,age - l'rono un in
the Pr edicate . . . . . .

Your Own Experiences .
Improving Your Story .
Critic izin g Stories .
Examples of Oral Compositi o ns b y Pupil s
An Experie nce of Benja min
Franklin 's .

7l
72

73
73

74

Quotation Mar ks
Commas to Set Off Quotations
Commas to Set Off the Names
of Persons Addressed
Con tractions
Picture Study .

7s
75
76
78

So

Pla ying Stories
.\ Dram atic Situati on
Work in g Out the P lay
Writing t he P lay
.\ cling th e Play
Ot her P lays . . .

84
84

84
85
86
87

88
89

90
90
91
92
92
92

XVIII. The Preposition and Its
Obj ect
Ph rases . .
Prepositions a nd Adverbs . .
Correct Usage - Prono un as
Ob jec t • . . . . .

93
94
95

XIX. Outlining What You Read
Paragraphs . . . .
The Topic Sentence • • . ·

Paragraphs
N ecessa ry
to
Clea r Expl ~tnalion . .
Paragrap h Outlines
Studyin g b y l' aragrn ph s
Correct Usage - JJid, Done

<)<J

99
99
103

XX. How to Become More
R ap id Readers

XVII. A Play for a Club Program

XIII. Telling a Story

XIV. Punctuation within the
Sentence

X. Practical Uses of English
Use of E ngli sh to Business
and Professional People
Conn ectio n of Engli sh with
Oth er School S ubj ects
A Geography Project

54
54

42

IX. Clauses and Complex
Subordinate Clauses
Simple and Complex Sentences
Adj ec t ival
and
Adverb ia l
C lau ses

53

PAGE

PAGE

PAGE

Other P rojects . . . . . .
The Use of R eference Books .
Correc t Usage - These, Those

VIII. Parts of Speech
Verbs
Nou ns and Pronouns
Nouns a nd Pron ou ns as Obj ects
Modifi ers :
Adject ives and

vu

CONTENTS

CONTENTS

96
9~

Purpose in R eadin g . .
D iffe rent R ates of Readi ng .
P ur pose ] )ctcrrn in es \\'hat.
a nd Ilow W e .Read . . .
In creasing th e R ead in g Ra tr
Correct Usage - Saw, Seen .
XXI. R eading for

10. \ _

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10(>
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Me~n.i!!g

Sharin g t h e Write r's Th oug ht r I 2
Getting t h e \·V riter 's Plan
1 L3
Fil ling in Detai ls
113
Getti ng th e Mean in g from the
Context . . . . . . . . 114
Re fl ect ion over Rc~td in g
115
App lying Grammar l o Readin g . . · . . . . . . . . . 11 6
Grammar Helps Us to Understand Poetry . . . . . . II6
Correct
Uso..ge - M'Ysclf,
Ili-msclj, Il crsclj . . . . . 1 20
XXII. Use of the Dictionary
H el p from the Dictionary
Spelling . . .
Pronunciation
Meaning
Derivation
Alph ab etical Arran ge ment
Pronun cia ti on
Definition s

121
121
122
122
12 2
1 24
1 24

126

Vlll

CONTENTS
PAGE

Abbreviations Used in the
Dictionary
Correc t Usage - Th ey, Th ere

126
127

XXIII. Letters of Thanks and
of Invitation
An Invitation . . . . . .
Replying to ·an In vitation
A Letter of Regret
Thank You Letters . . .

128
128
129

13 !

XXIV. Civic Study for the Club
Interest in Your Co mmunity
Planning the Program . . .
Giving the Program . . . .
Other Civic Topics for Club
Programs
Letters . . . . . . . .

133
133
134

XXV. Outlining a Subject for
Speaking or Writing
An Outline Promotes Clearness . . . . . . .
Planning a Talk . . .
Expanding the Outline
Topics for Outlin ing
Community Study .
Stc rcopt ico n Talks .
Sociali zed Recitation on Outlin es . . . . . .
Taking Nol.cs on Other Pupil s' Rrcitations
Class Criticism

Looking Ah ead . . . . . .
Planning a Club Program on
Occupations ." . . . . . . 140
Books on Choosing a Career . l4I
Usin g the Books
143
Letters . . . . . . . . .
144
Reporting on Occupations
144
Written Reports .
144
Picture Study . .
146
XXVII. Exercises in Grammar

147

XXVIII. Exercises for Dictation
Exercises

134
134

135
136

136
138
138
138

139
13()

139

PART TWO

I'AGC

XXVI. Club Program - What
I Should Like to Be

Reviews

PAGE

I. The Paragraph
Get.ting the Main Thought
Studying the Paragraph
The Paragraph Topics .
An alysis by Paragraphs
Unity in a Paragraph
Coherence in a Paragraph
. The Importa nce of the Openin g Sentence . . . . .
Emphasis in a Paragraph .
Paragraphs Are Bui lt like a
House . . . . . . .
Speakin g Paragraphs
Planning by Paragraphs
Development

156

156
157
157
157
i58

158
158
158

158
r58
159

160
160

A Paper Caters to a Specia l
Class . .
Timeliness
Good Taste
Style of Articles
Items of Sc hool News
Reports of Sc hoo l Orga nizations . . . . .
Special Departments
Specia l J\ rticl cs
Ce nsors hip of th e Paper
The School Paper Belongs to
the Sc hoo l
Picture Study

163
165
166
166
167
167
168
169

170
J7l
i 72
l 73

174

175
175
r75

176
177
r 77

q8
179
18'.)

182

III. The Sentence
Importance o[ the Sentence
Definitions
of
Se nten ce,
Cla use, and Phrase
Classes of Sentences . . . .

PAGE

IV. Subject and Predicate

II. Contributions to the School
Paper

XXIX. Grammar Review
Subj ect and Predicate . . .
Objects, Predicate Nominatives,
etc ..
Modifiers
Cla uses
Phrases .
Verbs
Nou ns .
Prono un s
J\ dj cc t iv es
Adverbs
Prepositions
Conjunct ions
Jn ter jeclions
Number
Case . . . .

ix

CONTENTS

Complete Sub}cct and Complete Predicate
Subj ect Substa nti ve .
Predicate Verb
Objects a nd Predicate No minati ves . . . . . . . . .
\V ords, Phrases, a nd Clauses
as Modi llers . . . . . .
Modifi ers Should St a nd near
the W ords They Modify .
Shi ft of Se n te n cc Plan
Unity in Complex and Co mpound Se nte nces . . . . .
Lack of Unity in Co mpound
Sen tcnc es . . . . . .
The And - Fault
Un ity through Contrast

192
192
193
194

194
195

r96
196
198

199
199

V. Making Ourselves Clear

Student Themes . . . . .
Clear Spea king a nd \Vrilin g
Exactness :i;ml 1\ ccuracy
Se lec ting Essential Points
P lanning for Clea rn ess .
JYfak in g Exp la nat ions Interest ing
Clearness through Uni ty
Summary
Illust rati ve Theme
Picture Study

202
204
204
205
207

207
210

210

21 r
214

VI. Parts of Speech
183
183

186

Division of Labor
Classes of Words
Nouns .
Pronouns . . . .

2 15
2 15

216

217

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x

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PAGE

Adj ectives
Verbs
Verb Phrases
Ad ve rb s
Prepos i l ions .
Co njun c ti ons
Interj ec ti ons
Th e Same Word as DiITerent
P<trts of Speec h . . .
Inflection .
E ngli sh ls Not Highly Infl ected . . . . . . .
S um rnary of D efiniti ons
Co rrec t Usage - Adjecti ves
a nd Ad ve rbs

219
220
22!
222

223
224
225
226
228
229
230
232

VII. Making a Booklet
So met hin g lo Keep
Co ll ecting Info rmati on
Oullining th e Subj ect
Developing the Paragraphs
Catchin g th e Attenti on of
.Read ers . . . . . .
Wri t ing by Paragraph s .
R ev ision . . . . . . .
T eac her's C riti cism
Assemblin g th e Booklet
Vari eties of Booklets . .
Co llaboratin g on a Booklet .
N eatn ess and Accuracy
Correc t Usage - Lie, Lay

234
234
235
236
236
23 7

23 7
237
23 7
238
239
239
240

VIII. Substantives
Common a nd Prope r No un s
Coll ec tive No uns
Infiniti ves a nd Gerund s
Th e No un Cla use . . .
Correc t
Usctgc - Possess ive
Adj ective with th e Gerund

242
243
243
244
246

xi

CONTENTS

CONTENTS

247
247
249
250

250
25 2
25 2
254.
254 .
257
259
260

262
263
265
268
. 270
272
273

XI. Verbs

XIII. Adjectives and Adverbs

Transitive Verbs
In t ransit ive Verbs
Case Following Transiti ve
Verbs
Case Foll owing Linking Verbs
Transitive
Verbs - Acti ve
a nd P assive Voice . . . .
Th e Use of Active and Passive
Verbs . . . . . . . . . .
P arti ciples . . . . . . . .
P ar t iciples Dislinguishecl from
Gerunds . . . . . . . .
ln fm it ives D isting uished from
Participles
Verbals . . . . . .
29 1
Proper Reference of Parl icip les . . . .
Tense of Verbs .
Irreg ul a r Verbs .
294
Co nju gation of the Verb I s
295
297
Au xiliary Verbs . . . .
Co rrec t Usage - Shall a nd
W ill . . . . . . . .
298
l\foocl of Verbs . . . .
299
Correc t Usage - Agree ment
o[ Verb with Subj ect
300
Pict ure Study . . . . . . . 302

Function . . . . . .
3 11
D escriptive Adjec tives
3 11
Limiting Adj ec ti ves
JI I
Limiting Adj ec tives and Pronoun s . . . . . . . . . 3 Il
Co mparison of Adjecti ves
3 12
U se of Comparati ve a nd Superl a ti ve D egrees
3 13
I'hrases
and
J\dj ec liva l
Cla uses . . . . . .
/\cl ve rbs
Co mpari so n of Ad ve rbs
Ad verbia l P hrases and Cla uses

IX. Letters and Social Notes
Form o f L etters .
C haracteristics of a Good
Lette r
Letters from Distinguished
P eople

x.

XII. Telling a Story
274
276
279

Invitations

Fo rm al I n vita ti ons
Informal In vita tions

281
283

Pi\GE

Pi\GE

PAGE

Correc t
Usage - Genitive
Case with the Gerund
N umber
Gender
Case
Ge nitive Case
Kinds of Pronouns .
Persona l Pro noun s .
Case o f No un s and Pronouns .
Nomin at ive Case
Accusati ve Case
Da ti ve Case
Correc t
Usage - The Pron oun as I'redi cate .
Correc t Usage - The Pronoun as Su bj ec t . .
Co rrec t Usage - The Pronoun CL S Obj ec t
lnl erroga li ve Pronouns .
R elati ve Pronoun s
Correc t Usage - Ca re in th e
Use of R el;i. ti ve Pronouns .
D et erminati ve and DescripLi ve Cla uses
Demons trat ive P ronoun s
Possess ive Adj ec ti ves and
Prono uns

I

/\ n Old a nd a New Art
Socia l Va lue of St or ies
Wha t. Makes a Story?
C harac t er .
D evices to Use in Telling a
Story . . . . . . . .
M eth od of Work
Correc t Usage - T ense of
Verbs

303
JO)

3o3
304

XIV. Prepos itions
.Prcposili orrnl Phrase . . .
Case F oll owin g a Preposition
Co rrect Usage - Obj ect s o[
Prepositions . . . . . . .
Prepositions
D istin gui shed
from Co njun ctions . . . .
Care in th e Use of Prepositi ons

3 18

318
318

318
319

XV. Expression of Feeling
P oe tr y the Expression of
F eeling . . . . . . .
Prose That Expresses Feelin g
Pwctice . . . . . . . . .
F eelings Ex pressed in Words .
Co ncreteness
Un it y of Impression . Writin g P oe try
Writin g abo ut Pi ctures
Cor rec t Usage - Grew, Grown;
Drew,
Drawn;
S hooil ,
Shaken . .
Picture Study . . .

320
32 1

323
323
3 24
32 4

32 5
"326

323
330

XII

CONTENTS
PAGE

XVI. Conjunctions

I,

Coo rdin a tin g Co njtq1 cti ons
Sub ordin at in g Co njun ctions .
Tran sitional Conj unction s

33 1
332
332

P AGE

Semi colon .
Colon
Quotati on Marks
Apo strophe . . .

347
347
348
348

I

XVII. Words without Organic
Connection with the S entence
Jnterj ecli ons
33 5
E xc la ma t ory Ex press ions .
335
Vo ca ti ves
336
Parenth eti cal Ex pressions .
336
Ab solu te Co nst ruc tion
336
In co mpl e te Se ntences
338
Correc t U sage - L i lie, A s ;
339
A s i f, Tlz ouglz

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XVIII. Idioms
So me Co mm on Idi oms .
Unidi oma tic Ex pressions

340
343

XIX. Summary of PLmctuation
T he Fun cti on of Pun ct uat ion
J\ ul hori t ies o n Punctuati on .
P eri od
In terroga li on P oint
Excl a ma ti on Point .
Comma .

344
344
345
345
345
345

PART ONE

XX. The Use of Capitals
Summary of Uses of Capital
Le tter s
XXI. Business Letters
and Forms
Qualities of a Good Busin ess
Lette r
T ypes of Bu sin ess L etters
Bills and Receipts
Checks .
Telegra ms
Pi cture Stud y .

35 2
353
356
357

358
360

Supplement
Spelling D emons
Suggeste d P lan of Work by
Weeks, Pa rt One
Suggested Plan of Work by
Wee ks, Part Two
Ind ex

361
362
3 72
38 1

I. ORGANIZING A CLUB

Those of you who belong to the Boy Scouts or the Camp
Fire Girls or similar clubs know that they are great fun .
An English Club is good fun , too. You learn English at the
same time that you enjoy your club activities ; for to be a
success every club must require all its members to take an
active part in its business.
What the Club Does. - The club plans and carries out
programs for Red L etter Days; works out group projects,
both oral and written ; decides on class excursions and plans
arran gements for th em; works on bibliographies ; plans
debates; watches spelling scores; improves the spoken and

·-:-.
SUGGESTION FOR A l'ROGRAM

i

{I

I

II. A CLUB PROGRAM

I
!

The Program Committee. - As a few people can work
together Letter than a larger group, it is well for your club
to appoint a committee to prepare a program to report to
the c!ub. A c~airman and two other members make a good
work.mg committee. The committee will meet outside of
cla~s to plan what is to be given. They will then make
theff report to the club and assign to each member the
work to be done.
Suggestion for a Program. - You must not forget that
the program will be a failure unless it interests the class.
~uppose, for example, that you wish to arrange for a meetmg on Columbus Day. You would not care to give a mere ·
dry history of the life of Columbus and of his discovery of
America. Nobody would care about that. The material
must be put into some form that will be fresh and new to
the club. The committee may decide to have some one read
Joaquin l\1iller's poem Columbus to give the audience a
feeling of the trials and dangers of tha t first trip across the
Atlantic. Some one else may be asked to imagine himself
8

9

one of the sailors and to tell of the terrors and discouragements of the voyage as he experienced them. A girl may
lake the part of Queen Isabella of Spain, and tell what she
did to help Columbus and why she wished to help him.
Another pupil may present an Indian's viewpoint, and show
his surprise at seeing the white men for the first time.
A phonograph may be brought into the room to furnish
national airs. The committee will probably have the whole
club sing America or some other patriotic song. A pupil
may give a stereopticon talk, showing some striking pictures
of Columbus; or if the school has no stereopticon, some
large pictures may be used. Another illustrated talk about
the ships of Columbus would be interesting. Several pupils
may work up a little play showing some dramatic incident
in the life of Columbus.
The suggestions are given merely to set the committee
to thinking. It will be better for them to work out their own
ideas, rather than to take the ready-made ones suggested here.
The important thing to keep in mind in planning the program
is to provide something that will make the audience really
see and feel.
When the program is sketched out the committee should
plan the best order in which the various numbers are to be
given. Remember that a program should have variety, and
do not place too much of the same kind of thing together.
Teamwork. - Each one on the program should feel bound
to do his best. This requires teamwork, just as football and
basket ball require teamwork. The success of the whole
depends on the performance of each. Therefore each student
must give careful preparation to his part, and not only try
to remember what he is to say, but to make his audience
feel as he wishes them to feel.

-·- - - - -__ _

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A CLUB PROGRAM

CLASS COMMENT

Preparation. - All this work will, of course, be done in
consultation with the teacher; but this should be your program, not the teacher's. The teacher is there to help you,
but not to pla n and think for you. The teacher will be
most helpful in hea ring each student give his part before he
gives it 'at the meeting. In this criticism some of the rough
places will be smoothed down. It takes all the life out of a
speech, however, to write and memorize it. All the preparati on should be oral, so that the talk may keep its freedom
and freshness.
Giving the Program. - The president of the club presides
a nd calls on the different speakers in the order agreed upon.
The teacher is one of the audience. All the speakers must
be sure to speak so tha t they can be hea rd ; for no matter
how good a speech you have, it will not be apprecia ted unless
it is heard. R emember, too, that th e audience is not so
much interested in how you look or in what you wear as in
what you say.
The Audience. - The audience is just as important for
the success of the program as are the speakers. An interested, polite audience can do wonders to help a timid speaker
gain confidence and make his point; whil e a restless . critical
aud ience can ruin the best speech. It is the speaker's business to make his audience listen; but the audience must
give the speaker a rair chan ce, and do nothing at the beginning
of the speech to upset him . Good mann ers will prevent an
audience from making it hard for a speaker.
Class Comment. - After we have been to a lecture or to
a concert we very naturally express ourselves about it. We
say what we liked about the performance and why we liked
this or did not like that. This comment seldom reaches the
lecturer or the musician; perhaps, if it did, it would help him

correct some of his faults or would encourage him to know
where he had succeeded. In your club, however, where the
audience is very near the speakers, it is easy for you Lo rass
your conU11ent on to the speaker, and thus stimulate him lo
do better work next time. Here, again, good manners mu st
be yo ur guide. It is easy to commend a speaker poli tely, but
perhaps not so easy to express disapproval cou rteously. In
giving your estimate of a fellow pupil's effor:, try to say wL~:.t .
will help him. If you like his speech, say it frankly, an cl , 1f
you can, tell him what yo u liked about i:. Try to pu l. you rscl( in his place, and sec i( you can tell lum w )1 at you did not
like without hurting his feelings.
For example, if a pupil has spoken too indistin ctly for
you to hear him, you ca n say Lo him, " I was inlcrcslcd
in your subject and wanted to know wha t ~'O U had Lo sa?'
but I could not hear you distinctly." Or i ( another pupil
has given too long an introduction to his s~eech, you ma y
say to him, "Would it not have been better if you had go t
a t your speech more quickly, instead of giving such a long
introduction?" To another who has not made clear some
incident you may say : "Just who were talking in that sce ne ?
I did not understand ."
If you try to put yourselves in the other_ fellow's place
when you make an adverse criticism, you will usmd~~ ~lelp
instead of hurting him. The class should rul e out cnl1osms
given in any other spirit. Criticism of a general na ture, such
as "Your speech was not clear," is not helpful. Every comment should be aimed at some particular point.
It is more natural and more courteous to make the
comment directly to the speaker. He is right there before
you, and is entitled to the courtesy of being addresse~.
All this comment should be given informally; a pupil

IO

II

A CLUB PROGRAM

CORRECT USAGE

who has anything to say should speak directly to the one
for whom it is meant, but, of course, only one pupil should
speak at a time. The president of the club should see that
alt who wish to comment have an opportunity to do so.
The teacher naturally takes part in this criticism, and has
as much "say" as anybody, but the bulk of the comment
should come from the students.
Suggestions for Class Criticism. - To make your criticism
really constructive and helpful you should have in mind
defi nite points to be brought out. Of course, all these
points would not be touched on in every criticism, but if you
have these before you they may help you to get at the real
value of each number on the program. Always remember

CORRECT USAGE

12

I
,j

lj
11

i'I

,.f:
I

i·:

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Learn, Teach
By working and studying we learn, as , "I
learn my lessons. ''
Only one person is
engaged in learning; but teachiHg requires
some one to teach and some one to be taught,
as, "1\fr. Brown teaches me French."
EXERCISE

Use teach and learn correctly in the following sentences:
1.
2.

tlzat appreciatio n of the good is jnst as important as finding
the bad.
Was it something worth giving?
Was it presented in such a way that it was interesting? Did it
show that it had been well prepared?
3. Was the speaker's manner of standing and speak ing sa ti sfactory?
Did he stand up or lounge? Did he speak clea rly and pleasantly?
4. Did he use correct English in speaking?

3.
4.
5.
6.

r. \Vas the material interesting?

2.

j.

By asking yourselves these questions about each speaker's
work you will grow in power to judge the value of speaking.
'I

L ETTER WRITING

I

r. Write a letter to your prin cipal inviting him to hear your program.

Write a letter to some one in the community who has a picture,
a book, or some other material you wish to borrow for use in
presenting your program.
3. Write a letter to a local newspaper inclosing a copy of your program and asking the editor to print it.
2.

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Docs she - - in the seventh grade?
The boy - - how to con<luct the meeting.
Miss Alderson - - the first gra<le.
She - - me geography.
John - - his spelling.
Did your mother - - you lo do lhal?

ACCO UN TS OF CLUB ACTIVITIES

III.

WRITING NEWS ITEMS FOR THE
SCHOOL PAPER

The Value of a School Paper. - If you have a school
p ape r, you know how much it adds to the interest of the school.
The . various s:hool clubs, the athl etics, the school assemblies,
specia l excurs10ns, and dozens of other school activities are
recorded in the school paper. If you have no paper in your
school, why not start one? It may be very modest at first.
Some one in the class may copy the contributions on the
t ypewriter, a nd this copy may be passed around from
hand to hand, as the newspapers in our ancestors' time
used to be. Or, the school probably has some kind of
du~li ca tin g machine that may be used to run off as many
copies as there are pupils.
The school papers that have been established for several
yea.rs a re printed on real printing presses, sometimes on the
school press and sometimes on an outside one. R egular subscription prices are charged for these papers. But the
manuscript papers arc also very interesting and useful.
I4

rs

Contributions to the Paper. - Your contributions to the
paper must first of all be interes tin g enough to be read. H
you write an account of a ball game, it should make your
readers wi sh they had seen it, or, if they did see it, it
should make them enjoy it again. Your account of a pla y
should tell something of what the play was about and who
took p art in it.
People wish to know when and where
things happen. You should be clcfmitc in ·w hat you tell.
1
This dermitcn css makes your account. more inte resting.
Subjects for News Items. - Anything that wi ll interest
the school is suitable for publication in the school paper.
vVe assume, of co urse, that you arc young ladies and gentl emen , and will not wish lo write anythi ng that will hurl a
member of the school or that would be coarse or vul ga r.
Good-natured jokes, accounts of all kinds of school activities, reco rds of attendance, advcrti sern ent.s or announcements
of special contests to b e held , announcements of prizes or di stinctions awarded, and original stories and poems arc some
of the material that goes to make up the school paper.
Make-up of Copy. - Newspaper people call the article
submitted for publication "copy." This copy should always
be written legibly and on only one side of the paper. it
should be free from blots or erasures. It should be spelled
and punctuated correctly. It should be carefully revised so
as to make sure that there are no mistakes. Those who are
responsible for the school paper cannot take the time to go
over carelessly written copy.
Accounts of Club Activities. - K eep the fact of your
club's existence b efore the school by writing up its activities
for the school paper . When you have a special program,
announce that it is coming. After your program is given,
see that some account of it appears in the school paper.

16

THE SCHOOL PAPER

Your club may have a committee to take charge of these
rep orts, who will be responsible fo r seeing that the club is
well represented in the school news items.
CORRECT USAGE

May, Can
I may means" I have permission " ; I can
means " I am a ble. " D o not use can when
you should use may.
EXER CI SE S

A . Tell a number of things that yoit can do, making a sentence using the word can to express each separate idea. Give the
sentences orally in class.
B . Tell a nu mber of things that you are allowed lo do , making a sentence using the word may to express each separate idea.
Give the sentences orally in class .
C. Examine the following sentences to see whether you should
use may or can. Give the correct f orms orally in class.
I.

2.

3.
4.

5.
6.
7.
8.
9.
ro.

- I read your story?
I - - wri te a report for the papers.
- - you play chess?
We - - go to t he ball game to-morrow.
You - - go too, if you wish.
H e - - run faster t han I - -.
- - we fini sh this chap ter before we go to bed?
- - we read as fast as mother?
I shall buy a bicycle if I - - find a good one for sale.
- - he go wi th me?

IV.

THE STUD Y OFJ_ICT UR ES

-.--

--------------

The full-page pictures in this book a rc taken from Am erican galleries, so th:lt it is possilil e for you some day lo sec
the originals of them . If you Jo, yo u will find lhcsc originals
mu ch more interesti ng to you than they wo uld he if yo u h:ld
not become familiar with their outlin es.
Some people in going through a picture ga llery look fo r a
long time a t a single canvas, un ti\ it has mea ning for them;
but the 1mljority of visitors Hit through a gallery of masterpieces with the ligh tness a nd quickness of butterflies, casting
an indifferent glance fo r a few seconds a t a picture that it
took a great artist many months or even years to paint.
If you have really learn ed to look at pictures, you will
not be among these careless flitters. You will study one
picture until something of the a rtist 's message has reached
you.
The original pictures are much more interes ting than these
copies, both because they are_la rger and because they glow
with ri ch and beautiful color. But something of the grace
and beauty the artist saw when he painted his picture is
carried over in the copies. A grea t poe t, R obert Browning,
has said:
vVe're made so tha t we love
First. when we sec t hem painted, things we have passed
Perhaps a hundred times, nor cared to see.

As you look at the pictures in this book and at other pictures, feelings and stories suggested by the pictures will
come to you. Often you will wish to tell somebody how these
pictures impress you.
17

18

THE STUDY OF PICTURES

H ere are two ex amples of wha t child ren have written about
pictures they liked:
I NTE RIOR OF A COTTAGE

(Sec page

19)

The olde r chil d ren a rc ou t playin g. The moth er sits by the ba.by
while he sleeps. She loves lo sew fu r her k 1l>y . She is mak ing h im a
new dress. It is nol fin e li nen or lace lh a l she is sewing. ~ h e is poo r,
a nd musl m ake her baby's clot hes ou l of coa rse clot h. Bu l she makes
th em as p rcl t y as she can. If she cannot d ress th e baby in da in ty clo th es,
she can a l least keep him clean. She wo rk s ha rd lo do t his. The ba by
is r lcan ;rn d cvc ryi hi ng in i he room is nca t . It is on ly a poor, pl:1 in
home, btt l it is sweet. I th ink iL wo uld lw a pi«:1sa nt place Lo come
when yo u were ti red of pl:iying.

Tnr F or. W .n: 7'T:' r. (Srr p:1gr i9)

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This pi r turr gi':('S yn11 .1 frr linp; of grr.1! effort 1nrl grr;it <trrngth .
Thl' (1,;\wrni:lll fulh 1T: il i1.1., i lw d:tm'.:T<>l tc' i'"''it iu11 lw is iii. 11" i, 11\lt
frantic in his pulling lur :' lwrc . lte is pullin;.: 11il lt li:ml. long st rnkl's .
'I !w 1·1~hcrn1;1r1' :-: t.:l ·-:k i ~ Jlifl :111 (':i~y o ne. l~o1\· i 11g t·1\" () L1ig 11:-.: li. : t L ~ t ~k ,
and a i><>:1t is 11:1111 ''"I k

The Seeing Eye . -

llo

il()L t n

1o

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opy

t h1·;;c c; lmic~.

hut

c\p1·c,;,; :1;; cit-a rk :1,; \11U r:rn 1'.lnt till' pit lure m:1k1·s Y1Jll

kl·I.
:11111

;\ p 1dttrc ·'Jll· :1k ,;
~c1·

1•:h:1l

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t i ) \"tJll 1n1h·
11lll'11 it m:1k" '' \·1>u f('(·I
1Jili1_-r11 is1· 1rn11l<i 111>1 ft.1·1 :111<1 S<T . Tilt'

:1rti ;-; t ~ct·,; lw:t t1t\· 11]\l'IT tlw :1nTl.c'.I' 1wrs1 111 "<'!'" <ll1h· tlte
(lllllJlHillJll:llT 11r ('\( 'Jl tl1c u ,c;ly.
I ii<JIU~li \Ill\ .l\Lty 11111 lie

:il >k (<J dr:11y "r p:1i11 t 1· .. n· 11Tll. \ <lll c:111 111· t<J ,.;t·c· 1111:11 is
lw:1ut if u l ill ll:1turc . in tl1c life :111d lll<J\TllH'lll

(lr

thL· c-; !1Tl'! c; .

i 11 llie e_\pres"iu1 1" a11.J :_::e:'tures , ,f 1·e••jil+-'.
::\Lt.11\ of ll1c artists 11ho p:tiJJLcd Lile origin :tls uf Llie
pictures rq)wdun·d i11 thi s !Jo\lk 11·"1l1·rl :1g: 1 i11 ~ L dilh11lti··s.

The short sketches giYcn on the re1-cbes oi the picture::; m:.iy
h elp you t o know these artist s better.

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20

THE STUDY OF PICTURES

I

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PICTURE STUDY
INTERIOR OF A COTTAGE

Josef Israels (1824- 1911)

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Josef Israels was born in Holland , where the love of freedom
and the democratic spirit have always flamed in the hearts
of the people. The Dutch artists were among the first who
became interested in painting scenes from the lives of the
lowly. The older artists had confined their subjects to religious themes - the saints, the Madonna, and scenes from
the life of Christ. If any other subjects were painted they
were the kings, nobles, and rich people. But in Holland
painters turned from these religious and noble themes to
depict the lives of plain, poor people. Israels especially has
caught and expressed the beauty of simple lives spent in
poor, lowly homes. His interiors give us a feeling of the
hardships of the poor, beautified and ennobled by love and
industry.
Interior of a Cottage is a good example of the painter's fine
feeling for the lives of the poor. This picture hangs in the
Corcoran Art Gallery, Washington, D. C. Other pictures by
this artist are to be found in the Metropolitan Museum of
Art, New York, the Boston Museum, the Chicago Art Institute, and indeed in most of the American galleries.

V. LETTER WRITING
Need for Letters. - Most of the writing the average boy
or girl and the average man or woman do is the writing of
letters. We have seen that in preparing a program we need
to write letters for information or letters of invitation. Every
day brings occasions for letter writing either for business or
as an expression. of friendship.
Letters Should Be Definite. - If we are writing to some one
to ask for information, we should be careful to say definitely
what we wish; for the people to whom we write are busy
people, and they have no time to waste. Or if we are
inviting some one to attend our meeting, for example, we
should say definitely what, where, and when the program
is to be.
Letters Should Arouse Interest. - Since our correspondents are busy people, we must write in such a way that they
will feel it is worth while for them to answer. Not every letter
is answered. Many letters are thrown into the wastebasket.
So save the stamp by planning your letter to escape that fate.
In other words, try to make your letter appeal to the feeling and good sense of the recipient. Most people are interest ed in young people and glad to help them when they can
do so without too much trouble. Furthermore, most people
in business know that publicity aids their business. If your
letter can make the man to whom you are writing feel that
in some small way his business will be helped by complying
with your request he will be more likely to reply.
3

21

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·"'··-·------·------j•lllliiliiliiilllilliill!ttiilllliiillriili•••llll•••••lill••11•aaMt11••••!!. f!!_!l._!_iLil

I

LETTER WRITING

22

SIGNATURE

A CCEPTED F ORMS F OR LETTERS
I

Heading. - To save time for our correspond ents we use
the letter forms that are in common , accepted use. For
exam ple, we place our address a nd date a t the ri ght side of
the page so that the recipient of the letter will at once
know where and when the letter was written:
206

West 58lh Street, Chicago, Ill.
November 13 , 1922
106 Morningside Drive

New York, N . Y.
. Jan. 14, 1922

·1
I

These headings the eye takes in at a glance. The present
usage prefers to leave off punctuation at the end of the line;
but there should be a period after each abbrevia tion, as,
J a n. and Wis ., and commas to separate the day of the month
from the year, and the city from the state; as, Milwaukee,
Wis .; Chicago, Ill. ; May 6, 19 22 .
Address. - The letter must also show plainly to ·whom
it is addressed. We place the name and the address of our
correspondent on the left-hand side of the page and below the
heading. The address may be either indented or " blocked " ; as,
Mr. Thomas Wyatt
314 Albert Street
Pittsburgh, Pa.
Miss M ay Kerrington
M alden, Mass.
l'vfrs. Frank Tremai ne
Secretary Emerson vVoman's Club
Pasadena, Calif.

In a busin ess Jetter we write the official title of the one
addressed below the name, as in the ca,;e of Mrs. Tremaine.

Salutation. - A courteous form of address follows the
formal address; as,
D ear Sir:
:My dear Miss Kerrington:
Dear 11'ladam:

It is not proper to write Dear Miss, without adding th e
surname. We may address an unmarried woman as Dear
Ma.darn or as D ear M iss K errington. Both form s are correct,
and the choice between them is merely a matter of taste.
A colon following the address is the usual punctuation for
business letters, although a comm a is sometimes used.
Body of Letter. - The body of the letter is begun on the
line below the salutation, a little to the right.
Mr. Thomas Wya tt
314 Albert Street

Pittsburgh, Pa.
Dear Sir:
We are glad to receive your order and will have it fill ed at once.

Complimentary Close. - Following the body of the letter
is placed a complimentary close, such as Yours trnly , Yours
very truly, Yours respectfully. This complimentary close is
placed about half way between the right and left sides of the
page. On ly the first word is capitalized . A comma follows
the complimentary close; as, Yours truly, Yours very truly,
R esjJectfully yours.
Truly and respectfully are often misspelled.

Are you sure
tha t you can spell them correctl y?
Signature. - The signature is written on a separate line,
under and a little to the right of the complimentary close.

lFTTl:R

24

\\'l~ITl\l;

CO!Z l ~ L C T

!!!!!!!!!!!!•IE

Clearness and Brevity. - The l[ rsl essential of a business
letter is clearness ; Lhe nexl is brevily. lL is courleous Lo our
corresponJcnt Lo express as clearly as possible Llic puinL of
our letter , so t hat he will no t tak e unnecessary time to t[n;,{
out why we are writing lo him. For the same reason il is
necessarv lo wrile as briell y as \Ne can .
Reference to Previous Correspondence. --- Ir t lll'IT h:1 ;;
been prcvi(lus correspu 11d c11n: we :oliuultl lic!.!:ill the lclln
\Vit!t a de1i11ile ru c rcmc Lu tlii::;. ll 1s 1wl llClC:-;,-;arv t<J he :-><i

- - - - - -f

:1111i

iiiiiiiiiiiii JI

iiiiiiiiii .11

fur_;n:~J

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·:-: :t \- . . \ 11qr Ji_·ttiT

n·1d1· \IT 111--ci i t"

the letter \\"

':ti'.

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tht· 11 t\1

c l• ·.

Bui

J1 :1 _ ~ !)(_·1'11
s1111H'

:11T :111 :;'.\ni11g :;h:i11l<I iw 111:1<1,· .

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t<>

111nr·l1:1l11

\Hit cs \() ackn<i1Ylc1i~1· :111 <>r<lcr he 111: 1y iwc;in : --1 :1111 _t;i:1<I
l(l 11 j] \·uu

th: 1L

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lwi11:: idled :111 d \\il l i JL: sliippc·d L\ '

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i;l ll'!j !Jl· ( ] l·r {lf
!l]<)!

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manv other questions . . \ s in~k 111i s:-;pL·llcd \r ord in an uthcrwi:-;e \H' ll -writ ten ktt.LT nwv lie l'J1uu~li Lo prejudice t li e
recipient u f the lclter a~;:tinsl t lie \n i t('r. ~o kl us fa1c this
r"ndition and karn to spell the \rords \\T u;-;c lll lcttns :1 :;
wel l ;i-; those in all our cc1rnpn siti<111 and di«t:Jti()Jl C:\1·n1sc'.
Un page ;(n wi ll be found a li st "r <lJ1c hu1Hlrnl 11or<I:; tli: 1t
arc so c<1111m<111h· mi"' [wllul Lk1L they lia\(: l1ce11 c allnl I lie
"cim· liunclrl'rl s1ll'lli11~ dcmun:> ... 'l\c1i1·11- tl1crn fr,1111 <iav tu
cla\' until you arc sure that you k11ll11· tlicrn thon 1ugli ly.

1·( ·( ·(·i\ ·i·(I

r1·1,·1· 1·11«1·

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r•.·k· 1- -

rinu; to a quest 1011 t l1a t has been asked rn a p1-cv1<>u:-; let I c1.

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CORRECT usAr;E

ivegatives

ha~n

t 111 1_1· p:i]'L-r.

got 110

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II W•' <1r1· ;i:-'ki n[J'. f,"- i111 .. r11p11i .. p WP ,]1111dti !>Iii "11r quc,, tions clearly and definitely . In order Lo i11L~!'f'.Sl. our corre,,puuclc11L iL i" !lc1~c,.:, J.l _1 L•_, ~a1- 1d1 1· v·c ·wish t1ir inf nnn ;1 tinn
and what use •.ve int•.::n.J t•) make c•f it .
Spelling. - We sometimes fe el that it is unfair to put
so much emµ li asis un spellin g ; but the fact is that we
h ave to accep t the atti tude of the world on this as on so

l . \\.ill Lh(_·1~ l_w :1 r:: 1n!·.· t •.
1

.

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10.

1

Can ) ·c:.t d:: ::.: ~y!l :in g .,.,,iLh this L~cycl~?
. '
I - : l 1, ·: i • • ! : + ·: ! 1 . l · i i ~ :'.l ". ,. ,
1T;i. vr_' yn11 :lny rr:1~nn fnr sf:iyint: :n~::1y?

Can the doctor do anythin g for him?

r/
) ;

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1

,' :-·r

,.. I

PRACTICAL USES OF . ENGLISH

54

Ask the librarian of your school library or public library
for books and other publications ..
The Use of Reference Books. - If ·you are looking up a
special topic you must economize your time, for of course
you have not time to read all you can find. If, for example,
your special topic is the ostrich farms of California, the way
to begin work is to turn to the index of the book you are
consulting and look for Ostrich or Ostrich Farm. When you
see on what page that topic is treated , turn to it and read
just what is said about the ostrich and no more. Then
take another book and follow the same plan. As you read
you should make notes of the important things you wish
to remember, and the name of the book from which each
fact is taken.
It is very easy to waste time by following some other topic
that may strike your eye, but you cannot afford to do that.
Stick to your topic and skip the others.
CORRECT USAGE

These, Those
These and those are adjectives used to point
out nouns. Them is a pronoun sometimes
incorrectly used instead of these or those.
Never use theni to modify a noun.

·'1

EXERCISE

Fill the blanks in the fallowing sentences with these or those:
1.
2.

3.
4.
5.

6.

I like - - pictures better than - -.
Are - - apples in that basket sour?
- - girls a re my fri ends.
Are - - fish over there as large as the ones we caught?
Where are - - shoes I bought yesterday?
Do you like - - colors on this hat?

,I

XI.

FRIENDLY LETTERS
1527 Fourth Avenue, Altoona, Pa.
March 8, 19 22

Dear Mother,
I thought I would write you a few lines before I go to work. I am
making a chicken coop. On Saturday evening some one stole seven of
our hens and one rooster, so I thought we should have a burglar-proof
coop for the rest of the chickens. We are trying to find out who stole
them, but have no clues yet.
I think I shall be home for Easter, and wish that you would send
someone to the station to meet me. I am going to bring you twelve
dozen eggs and some butter.
We are all well except Minnie. She has had a bad cold but is
gett'.ng better now. She is still in bed and Aunt Lizzie is going ~o keep
her m for fear that she may catch the grippe.
We were in town yesterday and got some things we needed. I
bought a good pair of shoes for four dollars a nd a half.
Well, I must close now, for I must get. to work on my chicken
coop.
Your loving son,
Frat?k
55

'( ;

FRIEN DLY LETTERS

FRIENDLY LETTERS

57

Cha rl eston, W. Va.
August 23, 192!

Union City, T enn .
November 10,

1922

D ear Frances ,
You ought to ha ve been here last week Lo go with us to Nas hville.
I had never bee n there before; so everything seemed wo nderful to me.
Mot her a nd fat her took us children over for t he week-end , and we
stayed at th e hotel. Lucy a nd I had lots of fu n biding from each other
in th e co rridors, as they call th e long halls. I lik ed to eat in the hotel.
too, in th e big dining room full of people, with a waiter right by our side
all th e time to sec th at we got every thing we wanted.
We went to th e Capitol and climbed about a thousand steps to the
lop of th e dome, where we had <t fin e view o[ the city. Then we took a
tax icab a nd dro ve out lo Centennial Park. It is t he prettiest place I
ever saw. There is a la rge a rtifi cial lake in th e center, with a beau t iful
building on its shores. 'J'he guide told us that this building is a copy
ol th e l'arthcnon in At hens. Some day maybe we can sec the original
building , but the g uid e said it w<ts all in ruins now. I like new buildings
hf' t tcr than ruins, don't you?
I won't try to tell yo u all we saw and did, because it would take
too long ; but Nashville certainly is a beau tiful place. Father said
that if I got through hi gh school all ri ght he would send m e to college
in N ash vi lle. Wouldn' t th a t be fun? M.aybc you can go too .
W e arc hoping that you will spend Thanksgiving Day with us, a nd
you must be sure to come. :Mother said we might ha ve a party, a nd
we will surely have a good t ime.
Write to m e soon and tell me all about the new pony.
Your fri end,
Sallie Thomas

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D ear Charley,
I wish you had bee n along when we went on our ca mpin g trip last
week. I should have give n you a pl ace as assistant roo k. Vcs, J was
th e cook, a nd nobody died. Of co urse, we look turn s doin g t he 1rnrk ,
and th e first day I got dinner. l had :u1 oil stove to cook on . and 1 he
thin g did smoke outrageo usly . l had lo peel pot a toes, strin g l)(':1 11s,
and shell peas. I made a stew of my vegetables, whi ch I pul on to cook
about nine o'clock. About eleve n I seaso ned iL with meat , ;i nd let it
boil tilJ twelve. There was so mu ch of it that it lasted several da ys.
All the other boys thought it was fine , so I was sa tisfi ed .
\Ve arc going again nex t year, and l hor c you G 11l go wit h us. We
camped on th e banks of the Kanawha J< ivc r, 11 hne we found pl enty of
fi sh. We bought our vegeta bles and milk and things from a farrnt'r
near us. And chi cken! You ough t: lo have pul yo ur teet h into some
of that fri ed chi cken !
\Ve had a canoe, and l lea rn ed to paddl e :rnd s1Yim . Before 11T left
camp L coul d swim th e rive r an d back . Be sure to 111ake yo ur plans Lo
come with us next summer.
Y our chum ,
Fred .Johnson

't

Anderso n, Ind.
Oct. .3 I , 1921

Dear Aunt J ean ,
I we nt to the footba ll game betwee n Ashl :rnu a nd Anderso n la st
Saturu ay. Ashl and beat wit h a score of 2 1 lo o.
] think Ashland
'viii wi n t he cha mpionship this year. I have a football team . l :i 111 th e
captain a nd pl ay qu a rterback. Our Learn played the Lee Street Learn
and beat th em 36 to 30.
I didn't have as mu ch fun Halloween ns I ex pected because they
had police on every corner, and besides tha t th ere were plain-cl0Ll1es
men running around town . I think I shall go out Monday night and
do what I di d n' t do Halloween.
I a m glad you are coming home Chri stmas, for I miss you. I love
you, Aunt J ean.
Your nephew,
J ack Dearing

!L..
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FRTF;\ffJLY LETTER::;

'lhe0e l eLLer s ;vere ;vriLLcn Ly Luy::, J.nd. girt~ . l lu_:y ~1..rc
not perlect, ot r011rse. ::iomc u[ lhe iuc•-1necl t'Xl-'"~~"i1111,,,

-----'L.

such :is slan;;, which th e nri;in:> l IP11'Prs rnnh1 i1w r1 hnv<>
been omitted, because boys arnl girls Luu ufLen weaken anJ
cheapen t~eir speech and wriLing Ly using meaningless
slang.
Frank's Letter. - In the Ji.rst letter Frank tells his mother
some of the things she would like to know about. Frank is
' evidently interested in raising chicken s, and coul<l ha vc
given his mother some of the rlctnils of hi s amu sin.g experiences wilh th e chickens. (1i •oursp l1ic; n101·lwr wnn 1r1 lw
i11I Pn',; {p(\ i11 t lw 1w w -.;li n1 '." ;111 d \11m 111ucl1 Llit:v t:tJ:,L \\ uukl
hi ,; cltum

c 1_~uc1J a \.111u l

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Sallie's Letter. - SalliP. has written a ralher lung ldler.
y uu Ll1i11k iL 11a:-. i11l t11::,Lillg Lu I'ra11cc :O:' l[ ~; :1 lli t· ii:1il
told some of the funny things tlut happcnnl 011 liie lri1• ,
wnuld lhP \1 ·!!1 ·r i1avc hn:11 l1d.lt:r:' .ls Lhcrc uol too much
desr:ription in this i1:'l i er~
Frni's f.l'lta. - L F red's lcLLcr Lhc kind of letter n boy
,,usually writes to his ch um? Wou ld Charley be interested
in cooking for the camping trip? Is it more interesting because Fred tells us just what he had for dinner and just how
they got their supplies? These details in a friendly letter
help us to see the writer. They arc like intimate conversa tion.
J ad<'s Letter. - Docs Jack's letter tell you anything about
what kind of boy he is? Diel he tell the things bis aunt would
be most interested in? Even if she did not care about football, would she be interested in Jack's football team? Does
this letter show anything about the feeling that exists between Jack and Aunt Jean? Does he seem easy and friendly
or is he afraid of her? Why do you think so?
.lJu

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An Uu sn cce ssful Le tt er.

, ,, ,. .,. 1: i11,

One day last week Tom Kavanaugh and myself d ec id ed to go to
1 ht-~ i:-1ir gro111 1d;-;.

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L11t.: city. \Ve Loa.rdt.::J vlic vi Lhe \\-c:::iL Ci ly La l :::i ; u1 J \\ Cle ~uu11 a l Ll1 c
grounds.
\ .Y hen we got off th e car we w:-i lked up lo the gal<' where we pai d
for two tickets and wcnL into the grounds. We w:tlkcd up to the sL1hlcs
where '.1 hey kcpl th e horsus I hat were Lo race I h al even in g. \\' c l hen
\\'(' J)j- (r\! (' r \\' lH' l"(' thf' l:inT(' 1r·11t c. \\.'('!"('
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crn• r r l; n~ 11f1 t-r1

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w :-is a can ra ce w hi ch w;i <; won hv "1 >:111 i':i 1. "" l;. .. 11111ck v - l1n ·d !"""" '
'J lie lll·:,L J;icc IV<io a _lockcv r:ice won liv i lie 1:1111011' 0- 1· 11 \ orl. l11ll,;1·
·· ~ t. Lud ::-l .
' !'he\- li:;d a rn ol l i lT\Tk r. 11 ·i i11 .,, \1i1 Ji
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a11d \\'] Heh dcb1·cd Ll1c ucc UllLil Lite LL~ 1..
a Lalloo ll .

The lia.lluun ascension Look pl:tr;' :1i i'1 v" n 'cl ork cind

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o'ciock we :were on our way hom e.
Your fri end ,
Andrew Franklin

A Tinie Schedule Letter. - This letter has nearl y all th e
faults possible to a letter. It gives us no feeling whatever
of the writer. H e is as colorless as water. Neither does it
give u s any feeling of his day at Lhe fair, because he tells
everything in the same fiat, uninteresting way. A visit
to a fair, where there are racing and a balloon ascension and
people, may be made an interesting event if the narrator
picks out the particulars to tell us about. But Andrew does
not think of that. He is intent on giving Bill an accurate
time schedule of that day. One event is j~s t as uninter-

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FRIENDLY LETTERS

CORRECT USAGE

esting as every other one. He and his companion looked at
the horses, but they evidently did not see anything. They
watched the races and the balloon ascension, but neither
they nor the crowd felt any excitement or interest in them.
This kind o[ letter is better not written at all. It is not
worth the time it takes to write and lo read it. Bill could
not be any more enlightened after receiving it than before ,
except for the knowl edge that Andrew had gone to the fair.
Pupils so frequ ently make this mistake in writing when
they have nothing to say that it is necessary to warn you
against falling into this sort of vague fillin g in of a time
schedule. Nobody cares where you had your lunch or when
you go t home unless something unusual happ ened. The
trouble with this letter is not that the writer does not know
how lo write; he docs not know how to sec or to think about
what he sees. Until he has something to say he had better
try to cultiva te the habit o[ seeing.

work you are doing outside of school that would interest him. Be
sure to tell the details that a re charncteristic and that will appeal to the
reader's feeling. Ask him about his home interests.

60

It is very hard to write letters unless you have in mind
the one to whom you arc writing. Imaginary letters, written
in imagirfhry situations, are not likely to teach pupils how to
write good letters, for they are a lm ost sure to follow the
lines of Andrew's poor attempt. R eal letters , written to actual people whom they are intended to interest, give the
practice necessary for good letter writing.
r. Write a letter to some member of the family away from home
and tell him all the detai ls about the hom e th at would interest him .
2 . Write to som e fri end in another town , telling him anything interesting about your school. He sure to give details enough for him
to imagin e the thing you tell about.
3. Write a letter to some pupil in the class, telling him about some

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CORRECT USAGE

Burst, Drowned
The verbs bmst and drowned are often misspelled and mispronounced. Both verbs are
monosyllables.
EXERCISES

A. Give sentences containing burst and drowned, in which
you carefully pronounce each of these words.
B. Fill the blanfls in the Jo/lowing sentences with the correct
word.
After completing each se11lence read it aloud, being
careful to pronounce burst and drowned .::orrectly.
i.

LETTERS TO WRITE

/

2.

3.
4.
5.

6.
7.
8.

I have - - my balloon.
The kitten was - - in the barrel of water.
Many people arc - - in this river.
The hot water - - the bottle.
H er fath er was - - when the vessel sank.
He - - a small blood vessel.
The pipe has - -.
The cattle were - - in the flood.
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CLEAR AND EFFECTIVE SPEECH
EXERCISES

A. Plan an outline of topic sentences on one of the following:
r. A :Man Who Has Helped Our Community
2. What the Boy Scouts Have Done for Me
3. Why I vVish to Be a Lawyer (Engineer, Doctor, Bookkeeper,
Nurse, Teacher, Stenographer, Painter, or Architect, etc.)
4. Why I Am Proud of Being an American
5. Where I Should Like to Live

B. After wri ting out your topic sentences pla.n a talk on each
one.

Practice your speech aloud before giving it to the class .
CORRECT USAGE

Come, Came

I come refers to an action that is taking
place now; I came refers to an action that
has occurred; I have come refers to an action
that has recently taken place. Have, has, or
had is usually used before come.
EXERCISE

Answer the questions below with complete sentences in which
you use correc/.ly the words came, have come, has come, and
had come. Give your a.nswers aloud.
1.
2.

3.
4·
c;.
6.
7.
8.

Wh en did you come?
Have you come to stay?
Did he come yesterday?
Had your mother come when you reached home this morning?
Has she come to visit you?
Why did you come?
With whom did you come?
Has she come to study music?

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Your Own Experiences. - When you come home from a
hik e or a visit to the country or a trip to the city , you always
have something you wish to tell others . You are so full of
what happened that you have to tell it. Sometimes you tell
it in such a way that your family and friends enjoy it and
sometimes they are bored. It is a great art to be ab le to
talk entertainingly about what you have seen and done.
Now is a good time to practice.

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EXERCISE

Look over the subjects below and select one that recalls some
interesting experience. Think over that experience and try to
tell it so that it will seem real to the other members of the class.
r. Cooking Supper in Camp

When I Fell into a Deep Hole in the Creek
3. A Lost Dog
4. A Ghost
2.

71

I

TELLING A STORY
5.
6.
7.
8.
9.

I

l Discover a Bird's Nest
The Automobile Turns Over
Raising l'igcons
The Cat's Funeral
Raising a Pup

If none of these subjects suit you, perhaps you will think
of others that you can tell something interesting about.
In your talk bring out something that makes this particular
experience different from others. Leave out details that
have no connection with your story.

Improving Your Story. - After hearing the stories told by
others , see if you cannot improve in telling your own.
Verbs. - For one thing, see whether you have made sufficient use of verbs in your account. Verbs are the words
tha t give life and movement to a story, and without them
a story is stale and flat. Try to fit your verbs to the action
you are narrating. Don' t use such colorless verbs as go,
stand, is, and seem, but select verbs that suggest the actual
rnotion you wish to recall.
K eef" Moving. - Sometimes stories are spoiled because
the story-teller goes back to tell something he should have
told before. A story should be planned so that every incident will fit into its right place. We lose interest in a story
when the speaker says, "Oh, I forgot to tell you," and then
goes back to catch up a dropped stitch.
Stick to the Point. - If you are telling how you cooked supper
in camp, do not stop to relate what happened while you were
in swimming. Keep your story headed toward a particular
end, and stop when you get there. Sometimes a good story
is spoiled because the story-teller goes on after he has come
to the end. He tells us that he ate supper, or that when he

CRITICIZING STORIES

73

got home he found his aunt there, or something else that
has no real connection with the story.
Criticizing Stories Told in Class. - This is a good place
to recall the suggestions made early in this book about class
criticism. You remember we suggested the following questions:
Was the material interesting? Was it worth giving?
·w as it presen ted in an interesting way? Diel it seem to be well
prepared?
3. Was the spe:tker's manner of standing and speaking satisfactory?
Diel he stand up or lounge? Did he speak clearly and plcasanlly?
4. Diel he use correct English in speaki ng?
I.

2.

To these points we may add two others:
5. Diel his story move, or was it hindered by loo much repetition?
6. Diel he stick to the point, or did he bring in unrelated detail?
EXAMPLES OF ORAL COMPOSITIONS BY PUPILS

r. I wanted to take a ride in the airship at K:i.nawha City. I asked
the aviator how much he charged and he said fifteen dollars. I agreed
tu the price. When I arrived at the field I just had time to put on
my fl ying suit. The aviator and I got into the airship and were off.
\\'c kept going higher and higher until Charleston looked like a small
village among the hills. The aviator a.ske<l me if I wanted to loop the
loop, and I said, "Yes." 'We did many stunts until we were so low
that we were almost in the river. After fifteen minutes the aviator
guided the airship to the ground, and we landed without any accident.
2. Boom! Clash! Bang! The battle is on.
The greatest battle of
the season is being fought between General Winter and General Spring.
1lcrc come General Winter's soldiers led by lVfajor North Wind. Over
the hills they go with terrific speed, meeting no opposition. General
\\'inter thought one more attack like this would win the victory. He
sent Captain Snow to fini sh the work . Oh, what a drive he made!
But Captain South Wind crept in, and where did Captain Snow's
soldiers go? Captain South Wind wired Lieutenant Sunshine and he
came. What a change he made! He warmed the earth, and General

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TELLING A STORY

Winter's a rmy fl ed. The Oowers, birds, and animals arc glad that
Genera l Spring won. Everyone is glad, and we hope that he will stay
with us a long time.
3. A boy must be at least twelve years old to become a scout. He
must then know the composition and history of the American flag and the
customary forms of respect due it, the scout laws, the oath, the motto,
and the significance of the badge. He must be able lo tic the sheepshank, bowline, sheet bend , square or reef, clove hitch, timber hitch,
two half hitches, and fi sherman 's bend knots. After he becomes a scout
he must do a good turn daily.

XIV.

Quotation Marks. - In the sentences given below find\
the exact words of each speaker :

AN EXPERm NCE OF BENJ AMIN FRANKLIN'S

'\

vVhen I was a boy seven years old , my friends, on a holiday,
filled my pockets with coppers. I went directly to a shop where they
sold toys [or children, and bC'ing charmed with the sound of a wltistle
t hat I met by the way in the hands of another boy, I voluntarily offered
and gave all my money for one. I then came home and went whistling
all over the house, much pleased with my whistle, but disturbing all the
family. l\!Iy brothers and sisters and cousins, understanding the bargain
I had made, told me I had given four times as much for it as it was
worth; put me in mind what good things I might have bought with the
rest of the money; and laughed at me so much for my folly, that I
cried with vexation; a nd the reflection gave me more chagrin than
the whistle gave me pleasure.
This, however, was afterwards o[ use to me, the impression continuing in my mind; so that often, when I was tempted to buy some
unnecessary thing, I sa id to myself, Don't give too much for the whistle;
and I saved my money.
As I grew up, came into the world, and observed the actions of men ,
I thought I met with many, very ma ny, who gave too nntch for the
whistle.
EXERCISE

Have you ever paid too much for something that you
afterwards regretted buying, or have you taken a great deal
of trouble to get something that was not worth the effort?
First tell the class about this experience. Then write a
letter about it.

PUNCTUATION WITHIN THE
SENTENCE

As Lawrence took his cap and started out, I asked, "Where arc
you going, Lawrence?"
"Just over to Bill's," was the hurried answer.
"Can you tell me where J\1r. Brown lives?" asked t he stranger.
I replied, "If you will come this way, I can show you the house."
He bowed politely and answered courteously, "Thank you very
much."
I

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The exact words of a speaker are called a quotation.
Modern printing, to assist the eye in reading, always incloses
these direct quotations in quotation marks. We do not find
these marks in some of the older books, the Bible, for instance; but modern books always use them. By examining the
quotations given above you will notice that the first quoted
word begins with a capital - Where, Just, Can, If, Thank.
The first word of a direct quotation is always capitalized.
Commas to Set Off Quotations. - You will notice also
that a comma separates each quotation except the third one
from the remainder of the sentence. When the exact words
of a speaker are given, the quotation is usually set off from
the remainder of the sentence by a comma.
In the. following selection notice the commas that separate
the direct quotations from the rest of the sentence:
.
75

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A LETTER OF REGRET

II

A Letter of Regret. - Imagine that something prevents
your accepting the invitation and write a letter telling
Francis why you cannot come, and expressing your regret.
Put yourself in the place of the one who has invited you;
think how you would feel if those you invited could not
come, and try to write such a letter as will make him know
that you are really sorry not to be able to accept.
Chester, Pa.
Nov. 10,

XXIII. LETTERS OF THANKS AND
OF INVITATION
An Invitation. - Study the form of the following· invitation:
Dear Charles,
Mother is planning to give our crowd some fun. We are to have a
party on our lawn next Thursday evening, from seven to nine. I want
you to come, and suggest that you w~ar your everyday clothes, because
we shall play outdoor games.
Your friend,
Francis Thurmond

Replying to an Invitation. - Write a reply to this letter,
accepting Francis's invitation. In your reply tell him that
you appreciate his invitation and that you will be glad to
come, or something like that. Try to write a natural, sincere
letter that will be courteous and friendly.
. 128

I

1922

Dear Charlotte,
I am writing to remind you of my invitation to spend Thanksgiving Day on the farm. Father is away, and we are more lonesome
than usual, so I do hope you can come to cheer us up. The big turkey
we have picked out for Thanksgiving dinner is getting so fat that he
can hardly strut. I want you to come and help eat him.
Sincerely yours,
Marion
1235 Highland Avenue

Pittsburgh, Pa.
l\ifay

l 2, 1921

,pear Phil,
You have never been to our camp in Canada, though you have
· heard us talk so much about it. I certainly want you to see our little
shack on the island, and have the fun of going bass fishing on. Lake
- Nipissing. It is the prettiest spot in the world, I think.
We are going to leave Pittsburgh for North Bay the fifteenth of
June, and are counting on your going with us . . I hope you have not
made any other plans for the summer; for we shall all have a better
time if you are along, and I believe you will enjoy the Canadian trip as
much as we do.
Write me soon and tell me to . expect you before the miqdle of
"June.
Yours expectantly,
· Sam Sherwood

130

LETTERS OF THANKS AND OF .INVITATION
Marion, Ohio
May 15, 1921

Dear Sam,
If I were to have a vacation _this summer; I certainly should accept
your invitation to go to Canada with you. ·I know I should have a jolly
time with you and the other boys. But, sad to relate, I am going to
work all summer for the Western Rubber Company at Akron. You
see, I a_m saving up money to go to college, and have to improve . the
shining hours. Some of these days, though, I hope I may see the island ' ··
and Lake Nipissing and the other spots you have been telling me about ·
all these years. I need not tell you how sorry I am that I can't go
with you this summer. I hope that you will have your usual good time. - .
Your friend,
Phil Newsome
EXERCISE

These letters are simply worded -and express the feelings
of the writer. Try to write not like these invitations but
in your own natural manner.
1. Invite a friend or a relative to visit you for Thanksgiving or
Christmas or Easter vacation. Make your invitation hearty, as if you
really wanted it to be accepted.
. 2. Write an invitation to a member of your class, asking him to a
birthday party, or a Halloween or Christmas party.

.Write your invitation on usual white note paper and place
it in an envelope to match. · On the envelope write the name
of the pupil whom you are inviting and his address. Thus: .
Mr. Nelson Whitehead
216 Jackson Street
Oxford, Miss.

If you do not know the address, find it out. Deliver the lett~rs
in the classroom. Perhaps the teacher will arrange to have
a post office, w\th mail carriers to deliver the invitations'. · ·

THANK YOU LETTERS

131

.Write a reply to the invitation you receive, and return it
to the sender. You must be supplied with an extra sheet
of note paper and an envelope for your reply.
Be careful to spell all your words correctly and to use
the right punctuation marks.

Beacon Street
Boston, Mass.
Jan. 2, 1922

1215

Dear Grandma,
' One of the nicest things about Christmas this year was the fun I
had with the skates you sent me. I don't know how you guessed just
what I wanted. My old ones were too little for me, and I had been
wishing for .some new ones. These came just in time, and they fit me
exactly. I was glad that it turned cold right after Christmas. The
ice is good and thick, and I have skated almost all the time since
Christmas.
I am sorry school begins again to-morrow, as I won 't
have much time to be on the ice then.
• · •. Did you have a pleasant Christmas? We missed you ever so much
and were very sorry you were not well enough to come to Boston
.~e :holidays; but I hope you will come to see us soon.
; · Much love to Grandpa and Uncle Jo.
Your loving grandson,
John Woodward, Jr.

fo;

_·: Be Prompt. - You should be courteous enough to write
promptly and thank those who have been good enough to
. make you presents. No matter how good a letter you write
it will not be nearly so much appreciated if it is delayed'.
.. Not more ,than a week should pass before acknowledging
your presents and thanking the givers.
·Be Sincere. - In writing letters of thanks you should above
all . be sincere in your appreciation of the kind thought ~hat
,,,•rflL

132

LETTERS OF THANKS AND OF INVITATION

prompted the sending of the gift. It is true that sometimes
you might have preferred some other gift to the one you got;
but no doubt the giver thought he was making the best
selection and you should thank him for his thought and kindness in making the gift. Most people do not like gushing
thanks. They do not seem sincere, and therefore they miss
their mark. The following specimen illustrates this point:

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Thank you so very, very much for the darling little penwiper you
sent me. It was just exactly what I wanted, and it was so sweet of you
to send it. It is just beautiful. I have never seen a prettier penwiper,
and it is just as useful as it is beautiful. It surely was just lovely of you
to send it to me, and I thank you over and· over for it. I think it is too
sweet for anything.
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All one can say about that kind of letter is "Don't!"
Be T Jwughtful. - It is not very good taste to tell the giver
about the other presents you have received, for this leads
to a comparison, which may make the giver feel that his
present was not so acceptable as some of the others. Christmas letters often err in this respect. After thanking the giver
for his present, the writer is likely to go on and tell all the
other things he received. This does not interest the giver
and may well be omitted. A few words or sentences of real,
sincere. thanks are in good taste and sure to be appreciated.
EXERCISE

Write a letter of thanks to some one who has made you a present·
or has entertained you in some way.

XXJV.

CIVIC STUDY FOR THE CLUB

Interest in Your Community -H
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ow many o you know
~nyt r~g about_ the history of your community or about its
mdustr~es and lmes of communication with other parts of tl
world;:> C
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an you te11 who are its important citizens and
w at they have done? Do you know what measures are
~ken to guard. the safety and the- health of its citizens?
hese. ar~ ~uestrons that come up in connection with your
work m c1v1~s, and yet in English you can make use of much
of the matenal you gather in other classes. In arranging a
p.ro.gram on the community you may see how English and
c1v1cs work together.
. Planning ~h.e Program. - As in preceding programs, it
is we~ to diVIde the class into several groups, and let a
committee plan the work for each group. One group, for
' example, may take the chief industries of the community
and show w;hat each industry contributes to the life of the
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134

people. Another group may study the schools and churches
and show what they are doing for the spiritual and intellectual improvement of society. A third group ·may consider
the relations between your community and the rest of the
world, and show how your railroads, hard roads, rivers, and
harbors contribute toward commerce and increased intelligence. The work of sanitation, fire prevention, and police
regulation may be studied by another group. The parks,
playgrounds, art museums, and libraries furnish a fruitful
subject for another group to study.
Giving the Program. - After each student has made
careful preparation for .his particular part, the program may
be given in the club. Each speaker must bear in mind that
he has only a short time to speak and that he must make
his point clearly and briefly. The audience will comment on
what each speaker says, according to the plan suggested
early in the book. Do not give general, pointless criticisms,
but keep to the definite points suggested.
·
OTHER CIVIC TOPICS FOR CLUB PROGRAMS

How Our Community May Be Improved
The Opportunities of a Junior Civics League
Fire Prevention
Model Communities of the United States
The Prevention of Disease
EXERCISE -

LETTERS

Write a· letter to the Health Commissioner of your city or your
county, asking him to tell you what is being done to protect the heal_th
of the community.
2. Write a letter to the head of some industry, asking for definite
information about that industry.
3 . W.lite a letter to the nearest librarian, asking what the library is
doing toward Americanization of foreigners.
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XXV. OUTLINING A SUBJECT FOR
SPEAKING OR WRITING
An Outline Promotes Clearness. - In our discussion of
reading we said that every writer has in mind an outline
of topi? se?'tences which he expands into paragraphs. Such
an outline is very necessary if the writer is· to present his views
to an audience or to a reader in such a way as to be clear
and inte:estin~. We sometimes hear a speaker who really
knows his subJect niake . a very poor job of telling ab0ut it
because he has jumbled his ideas so that we cannot follow
to any definite point. In speaking or writing we should
~ways h~ve a definite goal toward which we work, just as
we have m football or basket ball. The football team is sue- ·
cessful in so far as it works towa_rd its opponent's goal; and
a ~peak.er or a writer is successful just in so fat as he brings his
pom.ts · m an orderly way toward his goal.

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STYLE OF ARTICLES

II.

CONTRIBUTIONS TO THE SCHOOL PAPER .

One of the most interesting enterprises of the school is
the school paper. We all like to see our writing in print,
and the school paper offers every student an opportunity to
gratify that desire if he is willing to work hard enough to
write a good article.
A Paper Caters to a Special Class. - Any publication
appeals to a special class of readers. When you are at home
you read your local paper because it tells about the happenings in your locality; but this paper would not interest an
· inhabitant of Philadelphia or of San Francisco. A banker
reads with interest The Wall Street Journal, but a doctor
prefers a medical journal. Naturally a school paper appeals
to the members of the school, and expects to find its readers among the students. We must bear in mind, then, when ·. ·
•we write for the school paper, that we should write what
will be of interest to a majority of the students.
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Timeliness. - Another, point to remember in writing for
any paper is the matter of timeliness. Your daily newspaper
will give a column to the meeting of a political committee
that took place yesterday; but it will not give a line to a
report of a committee that met a week ago; that event is
no longer news. As very few schools publish a paper oftener
than once a week, and the majority only once a month it
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is necessary to bear in mind that much that would be of
interest in a daily paper has no place in a weekly ;r monthly
publication .
. Good Taste. - Good taste is of the utmost importance
m the school paper. It is the lack of good taste that causes
t~ so-~all_ed "yellow newspapers" to be condemned by
nght-thmkmg people. Papers that print ugly stories, regardless of the truth, that deal in unpleasant personalities,
and cater to depraved taste by giving accounts of crime
are rightly regarded as enemies of public health and morals.
~chool papers should in their sphere stand for the same high
~deal~ th~t we demand of our best daily papers. Ugly, self1s~ _nvalnes should have no place in them. Intimate personalities, such as we sometimes find in such papers, are a breach
of good taste.
, Style of Articles. - Any publication is judged to some
extent by the style of the articles that appear in it. Some
daily papers are regarded as excellent models of good English;
for example, The New York Times, The Boston Transcript
The Chicago Tribune. Some of the monthly magazines tha~
have ~stablished a high standard of literary style are: The
Atlantic Monthly, Harper's Magazine, Scribner's Magazine,
The Century M_agazine, The Youth's Companion. These magazines are _wntten by mature men and · women, and they
reflect the ideas of educated people. It is not expected that .

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CONT RlilUTlONS TO THE SCHOOL PAPER
SPECL\L DEPARTMENTS

a school paper should publish articles written in the style of
maturity. Indeed, such writings would be as much out of
place in a school paper as long trousers on a ten-year-old boy.
"The style is the man" has been said by a great writer. He
simply meant that each one in his writing expresses himself
according to his own particular way of looking at things. So
in a school paper we expect the writing to be the simple,
natural expression of boys and girls. Attempts at "fine
writing" or "hifaluting" expressions are ridiculous and out
of place. Of course it is expected that all contributions to
a paper shall be correct in grammar, punctuation, and
spelling. Errors in a manuscript should be cause for its
rejection; otherwise the editors will waste th eir time in correcting the careless English of contributors instead of giving
their attention to constructive work on the paper.
f
Items of School News. - Students like to read a wellwritten account of school happenings, such as the following
titles suggest:

-

The Mid-year Commencement
A Distinguished Visitor to Our School
The "Y" Circus
The Gymnasium Exhibition
The Parent-Teachers Association Meeting
Results of the Anti-Cigarette Composition Contest
Our Get-Together Meeting (A Community and School Meeting)
The Recent School Concert
Who's Who in Junior High School (A record of pupils who have dis·
tinguished themselves in certain classes or activities)
The Christmas Play, "An Advance Visit from Santa Claus"
The Accelerated Class in Grammar
Hot Dogs and Candy (Account of a sale for benefit of the Athletic
Association)
A Visit from Our Superintendent
Observance of Roosevelt's. Birthday and Flag Presentation

Honor Record for ALLcmlancc
An Appreciation of Our Lunch Room
Add it ions to Our Library
Our New Dyeing Establishment (How the boys dyed their baseball
suits)

A Picnic
Prize Winners in Army Essay Contest
Room Eleven Adopts an Armenian
The Domestic Science Breakfast
Exhibit of the Art Department

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Reports of School Organizations. - Every li ve school has
many clubs and organizations whose activities a rc of interest
to students. The following are typical:
Athletics - Football, Track Teams, Basket Ball, Baseball
Work in Manual Arts
The History Club
Chorus
The Civics Club
The Good English Club
The Junior Red Cross
Good Citizenship League

Special Departments. - In a school paper much space is
usually devoted to athletics and rightly so, because every
student is interested in the athletic activities of the school.
It is important to have a good sport editor and live athletic
reporters, who can write up the games and meets in a snappy
interesting style.
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Book Reviews. - One excellent junior high school monthly
prints short reviews of books read for home reading. These
reviews treat of both the old favorites and more recent
publications. They serve the useful purpose of giving
students who have not read the books a taste of what they
offer. They stimulate students to more and better reading.

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CENSORSHIP OF THE SCHOOL PAPER

CONTRIBUTIONS TO THE SCHOOL PAPER

Editorial. -The editorial department sets the standard
of the paper. Short and thoughtful articles on subjects
of interest to the school may be the means of improving
the school spirit and of directing the thoughts of students
to wider possibilities of service. The following topics are
chosen · from editorials in junior high school publications:
What Boys and Girls Can Do to Lower the Cost of Living
Improving Our School Attendance Record
Student Government
Clean Athletics
Keeping Up the Standa,rd in Studies
Clean Up Your Premises!
What Our Country Has to Be Thankful For (Thanksgiving editorial)
The Real Spirit of Christmas
The Birds' Return
The School Exhibits
A Survey of Our School
Keeping Our School Building Free from Defacement
What the Library May Mean to Us
Habits That Will Ruin an Athlete
What Constitutes a Good Sport
Loyalty to Our School
Loyalty in Athletics
Why a Team Succeeds
Get Ready for the Track Team
Campaign against Cigarette Smoking
Our Need of a New Gymnasium

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Special Articles. - Many school papers print original sto- ·
ries and poems by students.
A student who has had an unusual experience may entertain the · ~eaders of the paper by writing it up. The .·
trip of a little Russian girl from her native country to America
made a very interesting contribution to one school paper.

Another student wrote of a trip in an airplane in such inter. es ting fashion that his readers felt the thrill of the adventure.
The description of Mammoth Hot Springs written by a
girl who had visited them was worth reading.
A most interesting number of a school publication resulted
from an industrial and social survey of the community in
which the school was located. The various industries of
the city were written up from first-hand information ob.
'
tained by visiting individual concerns. One student took
the hotels for his assignment. A group of students wrote
on the churches of the city. The banks, theaters, clubhouses, Y. M. C. A., Y. W. C. A.·, public buildings, and leading citizens furnished material for reports of interest not
only to students of the school but to other citizens of the
community as well. The completed publication furnished
a brief survey of the city that was well worth preserving.
Censorship of the School Paper. -To be of real value
to a school the paper must be the work of the students, not
of the teachers; but it is desirable to have cooperation between students and teachers in presenting the finished product. It is too bad for the teachers to feel that they must
"boss" the paper. On the other hand, it is most unfortunate
for students to resent any assistance from the teacher as interference. Young people are not always right in their judgment,
· and they neeq the guidance of those who are more experienced. Students are likely to be careless in admitting material that is not up to the standard in form, and therefore
. they need the help of the teachers in proof reading. If both
students and teachers look upon the paper as the school
paper, the official expression of the school spirit, and have
enough pride and interest in their school to make this organ
a .worthy representative,' all will work . in harmony.

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CONTRIBUTIONS TO THE SCHOOL PAPER

The School Paper Belongs to the School. - Every student
in the school should feel the responsibility for the success
of the paper. This responsibility will, of course, rest most
heavily on the editors, but it must be shared by every member
of the school. If the collection of material is left to the editors
alone, the paper will soon cease to represent the school;
it will become narrow in its scope and lacking in interest.
If the students are all on the al~rt to find interesting material
for news stories, they will not only help their school to have
a better paper, but they will be adding interest to their work
in composition by doing the only kind of writing that is
really worth while - th.at is~ writing with a definite purpose.

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THE STUDY OF PICTURES

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·• yceorge -M orlatid (1763-1804) ,;
It was the most natural thing in the world for · George
Morland to become an artist, because from childhood he was
surrounded by painters and engravers. His father, his
grandfather, and many of his relatives were prominent among
British painters. George was only seven years old when he
began sketching. At fifteen years of age he exhibited in the
Royal Academy, London. From the first his pictures were
popular. Many of them were engraved, and by ~is means
became well known throughout England. .
Morland's favorite subjects were rural scenes and scenes
from lowly life. He liked to paint children and animals.
His pictures show children nutting, playing soldier, ~lack-"
berrying, fishing, etc. He was extremely fond of arumals.
At one time he kept twelve riding horses on his country place,
where he also had foxes, goats, pigs, dogs, monkeys, squirrels,
guinea pigs, dormice, and a donkey. He particularly liked
to paint pigs. In The Warrener the pigs ar~ more intere~t~d .
in their dinner than in anything else, while the dogs JOlll
with the family in welcoming the returning warrener (gamekeeper). The Warrener belongs to the Corcoran Art Gallery,
Washington, D. C.
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Morland was a very hard worker. He pamted a surpnsingly large number of pictures, which had a ready sale. Although his work brought him in large sums of money, he
spent it as freely as he made it. When he died, at the early
age of forty-one, he left no estate behind him, but he left
·
pictures that have given pleasure to many people.

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XII. TELLING ''A ST.ORY'
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Story-tellingi~·l at once the
oldest and the newest of arts. The most · prin1itive races
t old stories to their children; the earliest history of every
people is full of myths and stories commemorating the heroic
deeds of gods and heroes. It is true also that there is no
better way to hold the interest of the present day than to
tell a story well. Children always flock around a good storyteller, while the popularity of magazines of fiction shows
what a hold stories have on young and old alike.
Social Value of Stories. - We have daily opportunity and
occasion to tell stories; a large part of friendly conversation
consists of recounting our experiences or stories we have
read. Often we wish that the story-tellers of our acquaintance had some little familiarity with the art of telling
stories, so that their dull narratives should not be quite
so long drawn out and so lacking in interest. It is a social
duty to learn to tell a story so that at least we shall not
bore our audience.
What Makes a Story? - Of course we all know what a
story is; but perhaps we have not thought of just how it
differs from other spoken or written material. The chief
characteristic of a story is action. There can be no story
without events. But these events must be so related to one
another that they make a whole that stirs our feelings and
imagination.
An Old and a New Art: -

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TELLING A STORY

WHAT MAKES A STORY?

Some accounts of events are not stories, for they do not
form a vitally related whole. For example, the long, rambling account of a camping trip that brings in many unrelated
incidents and gives a detailed account of three meals a day
is not a story in the true sense of the word. A good story
has plenty of movement; it tells things so plainly that we
can see them, hear them - sense them in reality; and above
all it arranges the incidents in such a way that our interest
is held to the end. This is a simple way of stating the
elements of a good story. To put it in a somewhat more
exact form, we may say that a story must contain the
following elements: (1) action; (2) sense appeal; (3) suspense and climax.
Character. - There are other elements that often come
into a story; for example, the best stories give us some delineation of character. In Hawthorne's The Great Stone Face
we readily see the kind of people Ernest, Gathergold, and
Old Blood and Thunder were. In Treasure Island, Stevenson
gives us a lively picture of Jim Hawkins and Long John
Silver. But it takes the hand of a master to write a story so
that the characters stand out with such distinctness that we
should know them if we met them in real life. For our purposes, then, we may omit this element of character drawing,
and confine ourselves to the endeavor to express the three
elements given in the preceding paragraph.
1. Action. - Some one has said that many people fail to
tell a story well because they have no story to tell. A story
is concerned primarily with what people do, not with how
they look, nor with the scenery that surrounds them, nor
with the opinions of the author on various subjects. Verbs
j.re the most important words in a good story. The best
possible models of stories are the parables of Jesus. By a

careful reading of those parables you will be impressed with
the number of verbs they contain. Of the one hundred and
sixty-four words contained in the parable of -J'he Good
Samaritan, thirty-three are verbs or verbals. The Prodigal
Son contains five hundred and six words, of which one hundred
and sixteen are verbs and only fifty-three are adjectives. ·In selecting a story to tell be sure that it has movement.
In telling it, emphasize the movement; do not delay your
story with unnecessary detail or description.
2. Sense Appeal. - We mean by sense appeal that the story
is so told that we can see, hear, and feel the real situation.
Color, sound, and odor are made apparent to our senses.
The Gingerbread Man is attractive to children as described
by Miss Bryant: "A chocolate jacket and cinnamon seeds
for buttons! His eyes were made of fine, fat currants; his
mouth was of rose-colored sugar, and he had a gay little cap
of orange-sugar candy." Can you not see and smell and
taste this delightful gingerbread man?
Kipling makes us see Wee Willie Winkie in the following
description:
His face was permanently freckled, as his legs were permanently
scratched, and in spite of his mother's almost tearful remonstrances he
had insisted upon having his long yellow locks cut short in the military
fashion.

We get a vivid picture of Ichabod Crane rn Irving's The
Legend of Sleepy Hollow:
He rode with short stirrups, which brought his knees nearly up to
the pommel of the saddle; his sharp elbows stuck out like grasshoppers';
he car~ied his whip .perpendicularly in his hand, like a scepter; and, as
his horse jogged on, the motion of his arms was not unlike the flapping
of a pair of wings.

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TELLING A STORY

DEVICES TO USE IN TELLING A · STORY

A good rule. is. to a void lengthy description in a story;
whatever d~sc~pt10n you give should so appeal to the eye
or ear that 1t will add to the reality of the story.
3· Suspense and Climax. - The succession of events that
your story relates must be arranged in such an orderly manner
that they lead u~ to the most interesting point of the story,
kno~n as the chmax. The art of story-telling consists in
relatmg the events so that the audience must wait to see
what is going to happen. This is what we mean by suspense
- the waiting for the rest of the story . .
All the movement of the story is toward the climax. " The
climax knits together the thread of the narrative " as Miss
Bailey expresses it in her excellent book, For' the Story- ·
Teller. For instance, in the story of The Ugly Duckling
.,_
one event after another leads us to expect more and more
disappointment and ill-treatment for the poor little bird
until the time when he sees his reflection in the water and
realizes that he is no longer ugly and despised, but beautiful. The element of surprise in this story is wonderfully
well treated; for not only is the reader surprised at the
change, but the ugly duckling himself is the most surprised
of all. An artistic climax usually contains an element of
surprise, not only to the readers or the audience, but also to
the characters of the story.
Devices to Use in Telling a Story. - r. Know Your Story.
Be sur: you know the story well before attempting to tell it;
otherwise you are doomed to certain failure. A Sundayschool worker was studying a story to tell to a class of
children, when her little niece came up and asked her to ·
tell the story. The little girl settled herself to listen but ' '
he~ aunt so frequently had to go back to say, " Oh, I f~rgot
to tell you," that after a while the child ran away, saying,
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"You don't know that story well enough to tell it." No
one likes to hear a story haltingly told.
2. Make an Interesting Beginning. - The beginning of
the story must arouse interest and awaken the feeling that
the climax is to stir. Make your beginning interesting; the
shorter the better. There should be no long explanation or
description. The successful story " must catch the interest
of the audience the moment the curtain rises."
Miss Bailey tells of a settlement worker who had tried
in vain to awaken interest in a group of rough boys, who
made so much noise that they could not even hear her
speak. After a while, in a moment's interval of silence, she
began: "There was once a little Indian boy who rode fifty
miles on the cowcatcher of an engine." Instantly there was
silence in the room and the boys waited for this interesting
beginning to be developed. Had the story-teller used a more
conventional beginning, such as, " Fifty years ago there
were few railroads in the western part of the country. The
prairies were peopled by Comanche tribes who were unfamiliar with the inventions of civilization, and the first train
that ran through an Indian village inspired an Indian lad to
a strange deed,'' it is probable that not a boy would have
listened. But she caught them off their guard by an unexpected attack on their interest.
3. Work Toward the Climax. - In preparing to tell a story
keep the climax always in mind, and be sure that everything
you tell has some bearing upon this central point. No matter
how attractive a descriptive passage may be, unless it has
some vital relation to the climax it should be cut out. The
climax must be kept as a surprise. Be careful not to suggest
to the audience how the story is to end.
4. Use Direct Discourse. - Use direct rather than indi.rect

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TELLING A STORY

308

discourse. This brings the characters of the story directly
before the audience. Indirect discourse, on the other hand,
turns the attention from the story to the story-teller. How
much more forcible it is to read the words of the Prodigal:
"I will arise and go to my father, and I will say to him,
Father, I have sinned against heaven and before thee, and
am no more worthy to be called thy son; make me as one
of thy hired servants," than "The Prodigal said to himself
that he would arise and go to his father and tell his father
that he had sinned," etc. In telling your story always
give the words of your characters instead of recasting them.
5. Quit when You Are Through. - Finally, the end of the
story should follow soon after the climax. Many _a good
story fails because the story-teller wishes to add some detail
that has no vital connection with the story. The account of
an exciting adventure at camp may be spoiled by the commonplace ending "We all came home and had our supper."
Another inartistic ending is the tagging of a moral to the
story. Henry van Dyke, in his introduction to The Story
of the Other Wise Man , prays that he may never tag a moral
to a tale or tell a story without a meaning. A well-told
story will be saturated with meaning without expressing that
meaning in the form of a moral tagged on to the end.
Method of Work. - Perhaps the best results in story
writing come from concentrating on the ide?- and writing the
first draft rapidly, with no thought about anything except
getting the story told. Then comes the really difficult part
of revision, when the writer must judge the story as he has
first written it, and try to sharpen it by keeping in mind the
principles brought out in this chapter.
Stories to Tell. -Try your hand at writing on one of the.
~bjects suggested on page 309.
You may tell a real ex-

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penence or an rm
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remember that you must make H seem true to the rea er.

IThe Most Exciting Ride I Ever Had .

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Most Exciting Incident of My Life
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How Betty Saved the Day
A Terrifying Incident in Camp
The Sad Ending to a Perfect Day
An Amusing Dog Tale
My Disappointment on Circus Day
.When Johnnx_<;om~ . Sailing Home
Judith · Startles the Eight nGrade-The Mummy~ with the Green Mask
The Enchanted Necklace
The Mysterious Rider
The Story of a Race Horse, Man-of-War
Out of Gas
Who Stole the Breakfast?
The Memoirs of a Well-Loved Mo ke~
The Usual Three Matches
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coRR.ECT.,..USAGE
Tense of Verbs
Never use taken or done without an auxiliary before it. Be careful to use did, went,
and took without auxiliaries.

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EXERCISES

A. Answer the following questions by giving complete sentences in which the correct form of the verb take, go, or do is
used. Read both questions and answers aloud:,
Did you have your picture --?
Where did John - - when he left you?
3· Have you . - - the best you could?

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