the poem if there were two; only one. Why, then, were not ten or twenty horses and riders sent?" Perhaps from these questions the class will be led to see that the contrast of Roland with the two horses who fell makes him seem even more heroic: the author had to choose a number large enough to emphasize Roland by contrast when the others fell and yet not so large as to make the impression confusing or the dropping out of companion horses monotonous and hence ineffective. Note how the author subordinates the other horses-the small number of lines devoted to them; one named once, the other not at all; and the like.

References

As good an illustration as may be needed of futile "references" is found in this poem. One who does not discriminate says at once, "Look up on a map all the towns mentioned." But why? Surely tracing the ride town by town, even if adequate maps are at hand, will add little or nothing to the appreciation of the poem. Why, then, it may be retorted, does Browning mention all these towns, eleven of them? And this is a good question, a particularly good question to assign a class who have not been led through hunting up many references to believe that to be the true end of the study of literature. If the children can not answer the question—at least one fifth grade class did it satisfactorily, they may be led toward the answer by other questions: "How far do you think the men rode? What makes you think that?"

Here the impression of distance is of far more importance than a knowledge of the exact number of miles. A vivid sense of the tedium and discomforts of a journey makes one appreciate its length far better than a statement of how many miles the journey covered. If the children try to name eleven consecutive towns on the railroad, they will get some understanding of the impression of distance. "What became of Roos? Of the unnamed horse? How many towns did Roland pass through? When did he reach Aix? What was his condition?" If these questions do not effect an appreciation of the great distance traveled, surely no mere statement of the number of miles will be of any avail.

Appeals Through Sense Images

By a very few words Browning has the wonderful power of suggesting to our minds vivid sense images. If a class are to appreciate the heroism of this bringing the good news from Ghent to Aix, they must go all the way, preferably each reader must in imagination be one of the riders; and in taking this mighty journey each one must see what the riders. saw and feel what they felt. A very definite set of images is suggested in preparation for the ride itself. One student wrote: "It is midnight, and as with a feeling of excitement I step through the door out into the street I feel the chill air. A moment I look across the narrow street and above the quaint houses opposite at the stars and the setting moon. But immediately I hear the sound of horses' feet, and

around the corner come two men with three horses. All at once I am filled with a quiet spirit of determination to carry the good news through to Aix. Without a word one of the men hands me the bridle of a restless horse. We spring into the saddles, and the journey that means so much to our sister city is begun."

This description, as will be readily seen, is developed after a reading of the entire poem, partly from details given here and there and partly from the imagination. The details added by an active fancy are always interesting. When one boy spoke of galloping through the street (Note the singular.) of a little town and seeing the people on the porch of the post-office, and when another described some of the people in the pressing crowd at Aix, there was proof positive that their imaginations were at work, that they had identified themselves with the rider of Roland and had seen and felt what he had experienced. Fulness and sincerity of imagery will develop only when the atmosphere of the class is kept healthy, when much carefully directed practice is given, and from the stimulation of the images described by others. But it is surprising always what pleasing results come from even a small amount of regularly bestowed attention. The better the imagery, as a rule, the better the identification of self with the incident, and hence the more complete the appreciation. Imagery will give greater enjoyment all through the poem; it is absolutely necessary in such passages as III. 2-5; IV. 1-3, 4-6.

Outline and Suggestive Questions

Other questions that will stimulate thought and send the class back and back again to the poem are: "Who tells this story? When, do you think? to whom? Invent a situation in which he may spin his yarn. Be sure that this situation is appropriate and that the setting is suitable to the man and the story. Why does he begin so abruptly? Do you think there has been any talk before he begins this story? If so, what?

"Is the story underlying the poem told clearly? If not, why do you think the author left so many things uncertain? Can you supply from your imagination the details? Be sure they do not contradict anything in the poem. Who sends the message? to whom? Were they friends or enemies? Where are the enemy? Why was Aix in a state of starvation? What was the message? Was the ride important? Why do you think so? Is the close of the poem satisfactory? Do you know whether Roland lives or dies? Would either his living or dying affect our opinion of his brave gallop?" Several of these questions can not be definitely answered; but they provide interesting exercise for the imaginative and critical faculties. Out of the discussion should come an appreciation of the author's art of leaving out and of vaguely sketching in a satisfactory background; besides this, the essential theme of the story should stand out more prominently: Roland's magnificent physical courage and intelligent co-operation with his master.

For those who at any time feel pity instead of admiration for the horse, it is well to quote from a letter written in 1845, by Elizabeth Barrett, who the next year married Robert Browning:

"Then "The Ride'-with that touch of natural feeling at the end, to prove that it was not in brutal carelessness that the poor horse was driven through all that suffering—yes, and how that one touch of softness acts back upon the energy and resolution and exalts them both, instead of weakening anything!"

Reading the Poem.

There is very little argument in favor of having a class memorize such a poem as "How They Brought the Good News"; but they should at the end of the literary study spend at least one period in the oral reading of the poem. This reading should not be so strongly rhythmical as that directed at the first of the study, but it should have that rhythm as a basis ever present in the mind's ear. Every variation should have a reason, which the literary study has prepared. It is frequently charged, and with justice, that oral reading in the upper grades is poor; it will not be discouraging, however, if it receives an amount of preparation and attention similar to that bestowed in the earlier years.