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LITERATURE AND LIFE

BOOK FOUR

by

EDWIN GREENLAW

William Osler Professor of English Literature
The Johns Hopkins University

and

DUDLEY MILES

Head of English Department, The Evander Childs High School
New York City

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596972

C
Copyright 1924

SCOTT, FORESMAN AND COMPANY

For permission to use copyrighted material grateful acknowledgment is made to Mr. Mitchell Kennerley for the two poems by Edna St. Vincent Millay from Renascence and Other Poems; to Henry Holt and Company for the three poems by Robert Frost from New Hampshire and Mountain Interval; for the four poems by Walter de La Mare from Poems 1901-1918 and from The Veil and Other Poems; for the two poems by A. E. Housman from A Shrop shire Lad; and for the essay by Simeon Strunsky from Belshazzar Court; to Pinker & Son, London, and to George H. Doran Company, the American publishers, for Arnold Bennett's "From One Generation to Another" from Mr. Bennett's The Matador of the Fire Towns and Other Stories; to A. P. Watt & Son and to Dodd, Mead and Company, the American publishers, for "A Defense of Nonsense" by G. K. Chesterton from A Defense of Nonsense and Other Essays, by permission of these firms and of Mr. Chesterton; to A. P. Watt & Son, London, and to Doubleday, Page and Company, the American publishers, for the three poems by Rudyard Kipling from Rudyard Kipling's Verse, Inclusive Edition, 1885-1918, by permission of these firms and of Mr. Kipling; to Harper and Brothers and to the author for Hamlin Garland's "Under The Lion's Paw" from Main Traveled Roads; to Dodd, Mead and Company for the poem by John Davidson from Ballads and Songs; for the three poems by William Watson and the three poems by Rupert Brooke from the Collected Poems of each of these poets, copyright by Dodd, Mead and Company, Inc.; to Jonathan Cape, Ltd., publishers, London, for the three poems by William Henry Davies from Mr. Davies's Collected Poems; to The Four Seas Company, Boston, for "Images" by Richard Aldington from Images Old and New by Richard Aldington, copyright, 1916, by The Four Seas Company and reprinted by their permission; to Charles Scribner's Sons and the author for E. A. Robinson's “Richard Cory" from The Children of the Night, by permission of the author and the publishers.

For copyrighted pictures reproduced as illustrations, thanks are due to Mr. Victor Albright for the cut on page 142 from his Shaksperian Stage; to Duffield and Company for the cut on page 76 from C. M. Gayley's Plays of Our Forefathers; to Mr. Maurice Goldberg for the picture on page 400, from Eugene O'Neill's dramatization of "The Ancient Mariner"; to Mr. Pirie MacDonald for the picture on page 671; to the Chicago Daily News for the picture on page 680; to Mr. Eugene Hutchinson for the pictures on pages 664, 674, and 751; to the Chicago Daily Tribune for the pictures on pages 672 and 746, copyrighted by E. O. Hoppe; to Charles Scribner's Sons for the picture on page 677; and to Mr. Ewing Galloway for the pictures on pages 262, 317, 394, 471, 533, 545, 669, 674, 678, 681, and 682.

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PREFACE

The present volume is designed for the last year of the secondary school course in literature. It has been prepared in accordance with certain principles that have governed the entire series, and, like the other volumes, is the result of many years' thought and experience. The books in the series are not merely anthologies, in which selections have been inserted according to gradation or type or any other casual plan, but seek to gain results that are quite beyond the scope both of the usual volume of selections and of a course based on editions of separate classics. A re-statement of the principles of choice and organization is suggested by the completion of the series.

1. The course in literature in the secondary school should not be technical, planned by scholars for those who are to be experts in literary history, linguistics, or criticism, but humanistic, the chief means for supplying that introduction to the mind of the past that is necessary to a well-rounded education. In the secondary school, as in the college, modern tendencies toward specialization carry possibilities of evil as well as good. Not only has the number of subjects in the curriculum increased enormously, but it has become the habit of each specialist to look to his subject-matter rather than to his pupils for the determination of his method. In the case of literature this means that many editions of the classics are prepared from the point of view of the specialist and stress technical erudition rather than the needs of youth.

2. Those who avoid the evil of technical scholarship may fall into the

error of supposing that literature serves no other purpose than that of pleasure or aesthetic enjoyment, thus losing entirely the discipline of humane letters. With the loss of the influence of the classics, we need something that will represent to our generation what earlier periods found in Latin and Greek. Now the liberalizing effect of classical humanism consisted in the fact that it helped prepare the way for the modern idea of progress; it showed men that they could recover the achievements of past ages and build on these foundations a modern civilization. Out of the philosophy, history, and literature of the ancient world came the intellectual awakening that was the prelude of the Renaissance. Translated into present-day conditions, this means that in literature in the English tongue, both that which is native English and that which has been translated from other languages, we have even richer stores to draw upon than those who lived at the time of the revival of learning. We have our own great tradition; we are not limited to the tradition of Greece and Rome. Literature, therefore, is not an aesthetic and pleasure-giving subject alone, any more than it is a field for philological and historical learning alone. Rightly used, it supplies a humane discipline fit to take the place of the old classical scholarship.

3. Á third error is to regard the classics, ancient and modern, as out of date and remote from present interests. There has been a tendency to make the popular magazine, the newspaper, and contemporary oneact plays take the place of all other

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