| OCR Text |
Show 104 HANDBOOK FOR TEACHERS OF INTERPRETATION by the air, slake their parched be throats, in single file, stop their breath, and so on, all must moti which strongly colored, but must carry with them the jear So the various colors are shaded by the vates the entire phrase. snow, dead on the snow, choked value of the paragraph, but neither color nor value the enveloping action-the is. ever out of atmosphere. In order to read well this selection, we must also notice the two for practice in are excellent examples of speech. They figures paragraph 'building-our fifth aim. Take care, however, that your that pupils do not become so enmeshed in the details of the figure Tartars the real idea back of the figure, the manner in which the and Persians received the message of Peran-Wisa, is engulfed. This selection also provides good development for the important idea he sixth aim. Hold your students to all the aims studied, but to aone in advance. Direct and Indirect. interpretation manner The most serious factor the teacher of will have -to encounter in teaching this aim, is the in which students read direct and indirect discourse. differentiation of these two forms does not seem to have The improved days of the McGuffy Readers. Bill Nye used to imitate by reading an imitation of a loud school-boy tone that In selection. strident, awful, McGuffy he would yell out, "Indeed I do, sir," and then drop out of sight and with the tiniest of tiny voices read, "said the boy in a low tone this oj voice!" All of our high school and college students make are All form. less in speeches quoted same blunder, exaggerated of and but the interest some least at language read with purpose, best it is Therefore thrown author-the away. the explanation-is to choose selections which contain both direct and indirect discourse, giving plenty of opportunity to bring out the meaning of each. Be. in sure that the direct discourse is given in character, while' the author if he were the as the the how, giving direct is read by pupil when, and where. In cutting selections omit all the how the char since the the school boy of the eighteen-fifties, acters speak, but be sure that the student embodies this how when he reads the quoted words. A well drawn horse needs no label; does the reader need to feel compelled nor to tell how the author de- |
