Title: Sanders' Union Fourth Reader
Author: Charles W. Sanders
Release date: October 1, 2005 [eBook #9078]
Most recently updated: September 10, 2023
Language: English
Credits: David Garcia, Tonya Allen, Charles Franks, and the Distributed Proofreaders
THIS FOURTH READER is designed to pass the pupil from the comparatively easy ground occupied by the THIRD to the more difficult course embraced in THE UNION FIFTH READER, which is next higher in the series. It is, therefore, carefully graded to this intermediate position.
In one sense, however, it is the most important in the set; since the great mass of pupils, in our common schools, are drawn away from scholastic pursuits long before the proper time for entering upon any course of reading more advanced than that which is here presented. This consideration has had its full weight in the preparation of the following pages.
Every exercise will be found to bear the impress of that special adaptation to the purposes of teaching, without which no book of this kind can fully perform the office which it assumes. The labor expended in this direction, though all unseen by the casual observer, has been neither light nor brief. It can be duly appreciated by none but the experienced teacher.
All words in the exercises, requiring explanation, have been arranged, as regular lessons in spelling and definition. In these definitions, however, it must be kept in mind, that no attempt has been made to give all the meanings of which a word is susceptible, but that only which it bears in the particular place in the exercise where it is found. There is a special educational advantage in thus leading the mind of the pupil definitely to fix upon the precise import of a word, in some particular use or application of it.
All proper names occurring in the text, and at all likely to embarrass the learner, have been explained in brief, comprehensive notes. These notes involve many matters, Geographical, Biographical, and Historical, which are not a little interesting in themselves, aside from the special purpose subserved by them in the present connection.
All this has been done, and more, in order to secure that kind of interest in the exercises which comes of reading what is clearly understood; and because no perfect reading is possible, where the reader himself fails to perceive the meaning of what he reads.
In the selection and adaptation of the pieces, the highest aim has been to make and to leave the best moral impression; and this, not by dull and formal teachings, but by the pleasanter, and, therefore, more powerful, means of incidental and unexpected suggestion. Admonition is then most likely to be heeded, when it comes through the channel of events and circumstances.
The direct and ostensible aim of the book, however, has been kept steadily in view; which is to furnish the best possible exercises for practice in Rhetorical reading. To this end, the greatest variety of style and sentiment has been sought. There is scarcely a tone or modulation, of which the human voice is capable, that finds not here some piece adapted precisely to its best expression. There is not an inflection, however delicate, not an emphasis, however slight, however strong, that does not here meet with something fitted well for its amplest illustration. No tenderness of pathos, no earnestness of thought, no play of wit, no burst of passion, is there, perhaps, of which the accomplished teacher of Elocution may not find the proper style of expression in these pages, and, consequently, the best examples for the illustration of his art.
The book, thus briefly described, is, therefore, given to the public with the same confidence that has hitherto inspired the author in similar efforts, and with the hope that it may reach even a higher measure of usefulness than that attained by any of its predecessors, in the long line of works which he has prepared for the use of schools.
NEW YORK, April, 1863.
1. TRUE HEROISM, Adapted. Osborne
2. YOU AND I, Charles Mackay
3. LIFE'S WORK
5. MY MOTHER'S LAST KISS, Mrs. E. Oakes Smith
6. THE DEAD CHILD'S FORD, Mrs. E. Oakes Smith
8. FAITHFULNESS IN LITTLE THINGS, Adapted, Eliza A. Chase
11. CHASE OF THE PET FAWN, Adapted. Miss Cooper
12. KINDNESS
13. CARELESS WORDS
14. WEBSTER AND THE WOODCHUCK, Adapted. Boston Traveler
15. DO IT YOURSELF
17. THE ADOPTED CHILD, Mrs. Hemans
18. THE OLD EAGLE TREE, Rev. John Todd
19. THE LIGHT OF KNOWLEDGE, Elihu Burritt
20. NIGHT'S LESSONS, L.H. Sigourney
21. NATURE'S TEACHINGS, Chambers' Journal
22. SOWING AND HARVESTING, Anon.
23. A THRILLING INCIDENT, Adapted. Anon.
25. WHEN SHALL I ANSWER, NO, J.N. McElligott
26. TO MASTER ROBERT AND JOHN, Davis
27. WHANG, THE MILLER, Goldsmith
28. CHIMNEY-SWALLOWS, Henry Ward Beecher
29. THE DOUBTING HEART, Adelaide Procter
30. THE COMING OF WINTER, T.B. Read
31. CHILD TIRED OF PLAY, N.P. Willis
32. THE RESCUE, By a Sea Captain
33. ROBERT BRUCE AND THE SCOTCH WOMAN
34. ROBERT BRUCE AND THE SPIDER, Bernard Barton
37. THE PINE-TREE SHILLINGS, Nathaniel Hawthorne
38. HIAWATHA'S HUNTING, Longfellow
39. DESPERATE ENCOUNTER WITH A PANTHER, Bk. of Adventures
40. THE POWER OF HABIT, John B. Gough
42. THE TWO YOUNG TRAVELERS, Adapted. Merry's Museum
43. HIGHER!
44. LABOR, Caroline F. Orne
46. SO WAS FRANKLIN, Anon.
47. NOW AND THEN, Jane Taylor
48. AN INGENIOUS STRATAGEM, Days of Washington
49. FRANCES SLOCUM, THE YOUNG CAPTIVE, B.J. Lossing
50. THE RAIN-DROPS, Delia Louise Colton
51. SMALL THINGS, F. Bennoch
52. MURDERER'S CREEK, James K. Paulding
53. NAPOLEON'S ARMY CROSSING THE ALPS, Adapted. Anon.
54. WHERE THERE'S A WILL THERE'S A WAY, Eliza Cook
55. "I CAN"
56. NOW, TO-DAY, Adelaide A. Procter
58. BENEDICT ARNOLD
59. BEHIND TIME, Freeman Hunt
61. THE SWORD OF BUNKER HILL, William R. Wallace
62. BIBLE LEGEND OF THE WISSAHIKON, Lippard
63. ADVICE TO THE YOUNG, E.H. Chapin
65. THE FOUR MISFORTUNES, John G. Saxe
66. MRS. CREDULOUS AND THE FORTUNE-TELLER
67. FAITH, HOPE, AND CHARITY—An Allegory
68. NOT TO MYSELF ALONE, S.W. Partridge
69. THE WORLD WOULD BE THE BETTER FOR IT, W.H. Cobb
70. SELECT PROVERBS OF SOLOMON, Bible
71. WINTER BEAUTY, Henry Ward Beecher
72. FROSTED TREES
73. THE MOUNTAINS OF LIFE, James G. Clark
74. IMAGINARY EVILS, Chas. Swain
75. SIR WALTER AND THE LION, A. Walchner
76. CHOICE EXTRACTS
78. LEAVES FROM AN AERONAUT, Willis Gaylord Clark
79. THE DAPPLE MARE, John G. Saxe
80. A LEAP FOR LIFE, George P. Morris
81. THE INDIAN BRIDE'S REVENGE, Adapted. L.M. Stowell
82. A MOTHER'S LOVE, Albert Barnes
83. THE LIFE-BOOK, Home Journal
84. ODE ON SOLITUDE, Pope
85. GETTING THE RIGHT START, J.G. Holland
86. THE PRESUMPTION OF YOUTH, Rollin
87. SONG OF THE AMERICAN EAGLE
89. LAST CRUISE OF THE MONITOR, Adapted. Grenville M. Weeks
90. DUTIES AND RESPONSIBILITIES OF WOMEN, Gail Hamilton
91. SCENE FROM WILLIAM TELL, J. Sheridan Knowles
92. THE RICH MAN AND THE POOR MAN, Khemnitzer
93. GRANDEUR OF THE OCEAN, Walter Colton
94. A BURIAL AT SEA, Walter Colton
95. THE TREASURES OF THE DEEP, Mrs. Hemans
96. THE BRIDGE OF SIGHS, Thomas Hood
97. A REQUIEM
98. VISIT TO MOUNT VERNON, A.C. Ritchie
99. LA FAYETTE, Charles Sprague
100. THE MYSTIC WEAVER, Rev. Dr. Harbaugh
101. WORK AWAY, Harpers' Magazine
102. QUEEN ISABELLA'S RESOLVE, Vinet
103. DISCOVERY OF THE NEW WORLD, Lamartine
104. THE RETURN OF COLUMBUS, Vinet
105. TWO HUNDRED YEARS AGO, Grenville Mellen
106. PRESS ON, Park Benjamin
107. THE THREE FORMS OF NATURE, From the French of Michelet
108. THE WHALE AND THE WHALER, From the French of Michelet
109. RIENZI'S ADDRESS TO THE ROMANS, Miss Mitford
110. SONG OF THE FORGE
111. CHOICE EXTRACTS
112. WE ALL DO FADE AS A LEAF, Gail Hamilton
113. TEACHINGS OF NATURE, Pollok
114. PASSING UNDER THE ROD, Mary S.B. Dana
115. THE PETULANT MAN, Osborne
116. THE BRAHMIN AND THE ROGUES, Versified by J.N. McElligott
117. LIVING WITHIN OUR MEANS, S.W. Partridge
118. GRANDEUR OF THE UNIVERSE, O.M. Mitchel
119. "WHOM HAVE I IN HEAVEN BUT THEE?", Pamelia S. Vining
120. THE MEMORY OF WASHINGTON, Kossuth
The Period is the longest pause—a full stop. It marks the end of a sentence, and shows the sense complete; as, The sky is blue`. Pause the time of counting six, and let the voice fall.
The Interrogation is used at the end of a question; as, Is the sky blue´? If the question can be answered by yes or no, the voice rises; if not, it falls; as, Where is your map`;? Pause the time of counting six.
The Exclamation denotes wonder, surprise, pain, or joy; as, O´! what a sweet rose`! Pause the time of counting one, after a single word, and let the voice rise; but after a complete sentence, pause the time of counting six, and let the voice fall.
The Colon is a pause shorter than the Period; as, The sky is clear`: the sun shines. Pause the time of counting four, and let the voice fall.
The Semicolon is a pause shorter than the Colon; as, The rose is fair`; but it soon fades. Pause the time of counting two, and let the voice fall. Sometimes the voice should rise, as the sense may require.
The Comma is the shortest pause; as, Jane goes to school´, and learns to read. Pause the time of counting one, and keep the voice up.
The Dash denotes a sudden pause or change of subject; as, I saw him—but what a sight! When the dash is used after any other pause, the time of that pause is doubled.
The Apostrophe has the form of the comma. It denotes the possessive case; as, John's book; also, that one or more letters have been left out of a word; as, lov'd for loved.
The Quotation includes a passage that is taken from some other author or speaker; as, John said: "See my kite."
The Parenthesis includes words not properly a part of the main sentence; as, I like these people (who would not?) very much. The words within the parenthesis should be read in a lower tone of voice.
The Brackets inclose words that serve to explain the preceding word or sentence; as, James [the truthful boy] went home.
The Caret shows where words are to be put in that have been omitted by mistake; as, Live ^in peace.
The Diæresis is placed over the latter of two vowels, to show that they belong to two distinct syllables; as, aërial.
The Hyphen is used to connect compound words; as, Well-doing; or the parts of a word separated at the end of a line.
The Index points to something special or remarkable; as, ⇒ Important News!
The Ellipsis shows that certain words or letters have been purposely omitted; as, K**g, k..g, or k--g, for king.
The Paragraph denotes the beginning of a new subject. It is chiefly used in the Bible; as, ¶ The same day came to him, etc.
The Section is used to divide a book or chapter into parts; as, §45.
The Asterisk, the Obelisk, the Double Dagger, and sometimes other marks, [Footnote: For instance: the Section mark, §, and the Parallel, ||.] refer to notes in the margin.
Elocution is the art of delivering written or extemporaneous composition with force, propriety, and ease.
It deals, therefore, with words, not only as individuals, but as members of a sentence, and parts of a connected discourse: including every thing necessary to the just expression of the sense. Accordingly, it demands, in a special manner, attention to the following particulars; viz., ARTICULATION, ACCENT, EMPHASIS, INFLECTION, MODULATION, and PAUSES.
Articulation is the art of uttering distinctly and justly the letters and syllables constituting a word.
It deals, therefore, with the elements of words, just as elocution deals with the elements of sentences: the one securing the true enunciation of each letter, or combination of letters, the other giving to each word, or combination of words, such a delivery as best expresses the meaning of the author. It is the basis of all good reading, and should be carefully practiced by the learner.
| VOWEL SOUNDS. | ||
| TONICS. | ||
|
|
||
| Element. | Power. | |
| 1.—1A | as in | Ape. |
| 2.—2A | " | Arm. |
| 3.—3A | " | All. |
| 4.—4A | " | At. |
| 5.—5A | " | Care. |
| 6.—6A | " | Ask. |
| 7.—1E | " | Eve. |
| 8.—2E | " | End. |
| 9.—1I | " | Ice. |
| 10.—2I | " | It. |
| 11.—1O | " | Old. |
| 12.—2O | " | Do. |
| 13.—3O | " | Ox. |
| 14.—1U | " | Use. |
| 15.—2U | " | Up. |
| 16.—3U | " | Pull. |
| 17.—OI | " | Oil. |
| 18.—OU | " | Out. |
| CONSONANT SOUNDS. | ||
| SUB-TONICS. | ||
|
|
||
| 19.—B | as in | Bat. |
| 20.—D | " | Dun. |
| 21.—G | " | Gun. |
| 22.—J | " | Jet. |
| 23.—L | " | Let. |
| 24.—M | " | Man. |
| 25.—N | " | Not. |
| 26.—R | " | Run. |
| 27.—V | " | Vent. |
| 28.—W | " | Went. |
| 29.—Y | " | Yes. |
| 30.—1Z | " | Zeal. |
| 31.—2Z | " | Azure. |
| 32.—NG | " | Sing. |
| 33.—TH | " | Thy. |
| A-TONICS. | ||
|
|
||
| 34.—F | as in | Fit. |
| 35.—H | " | Hat. |
| 36.—K | " | Kid. |
| 36.—P | " | Pit. |
| 38.—S | " | Sin. |
| 39.—T | " | Top. |
| 40.—CH | " | Chat. |
| 41.—SH | " | Shun. |
| 42.—TH | " | Thin. |
| 43.—WH | " | When. |
21: Soft G is equivalent to J; soft C to S, and hard C and Q to K. X is equivalent to K and S, as in box, or to G and Z as in exalt.
42: WH is pronounced as if the H preceded W, otherwise it would be pronounced W hen. R should be slightly trilled before a vowel. For further instructions, see Sanders and Merrill's Elementary and Elocutionary Chart.
For Long A.