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If, however, some inquiring young person should wish to read all there is on history, biography or any other subject, the full index in the tenth volume will show him where everything of the nature he wishes is to be found.

Introduction

Another valuable feature of arrangement is the frequent bringing together of selections that bear [12] some relation to one another. By this plan one selection serves as the setting for another, and a child often can see how the real things of life prove the inspiration for great writers.

The Fairy and The Woodcutter

Again, in the fourth volume is The Pine Tree Shillings , a New England story or tradition for girls; this is followed immediately by The Sunken Treasure , a vivid story for boys; next comes The Hutchinson Mob , a semi-historical sketch, followed in turn by The Boston Massacre , which is pure history. Graphic Classification of Masterpieces on page 14 will show more clearly what is meant by the overlapping of subjects. In the column at the left are given the names of the subjects under which the selections have been classified, running from Fables to Drama , and Studies , the last name including all the varied helps given by the author.

Across the top of the table the Roman numerals, I to X, indicate the numbers of the ten volumes. The shading in the squares shows the relative quantity of material. On the other hand reading across , there are many fables in the first volume, a few in the second but none thereafter; a few myths and some classic literature are found in the first three volumes, more in the fourth and fifth, but the number and quantity decrease in the sixth and do not appear thereafter; nature work is to be found in all the volumes but is strongest in the seventh; drama appears in the eighth and the ninth.

Biography has a place in all volumes, but is strongest in the seventh; while the Studies, appearing in all volumes, reach their highest point in the tenth. As has been said, the chief factors in making Journeys Through Bookland unique and of greatest value are the many helps that are given the readers, young and old. These helps are varied in character and are widely distributed through the volumes.

They must be considered one at a time by the person who would assist others to use them to the best purpose. These helps consist of what are technically known as studies, notes, introductory notes, biographies, pronouncing vocabularies, pictures, tables of contents and index. The following comments will make clear the purpose of each. Read across to learn in which volumes the subjects are treated; read down to find what each volume contains.

Every volume contains a large number of helps of different kinds for young people. Usually these are in connection with some selection and are adapted to the age of the boy or girl most likely to read the piece. As each study is presented in an interesting and informal manner and does not cover many points, it is felt that young people will enjoy them only less than the masterpieces themselves. The studies are arranged as systematically as the selections, and are graded even more carefully.

Their scope and method will be more fully explained in subsequent sections of this volume. These consist of explanatory notes, that are placed wherever they seem to be needed.

A REVISED AMERICAN EDITION OF THE READER’S HANDBOOK

They explain words not usually found readily in the dictionaries, foreign phrases, and such historical or other allusions as are necessary to an understanding of the text by youthful readers. These notes are placed at the bottom of the page that needs explanation, and so are immediately available.

In such a position they are more liable to be read than if gathered together at the end of the volume. They are neither formal nor pedantic, and are as brief as is consistent with clearness. Introductory Notes. At the heads of selections from longer masterpieces are introductory notes which give some little account of the larger work and enough of the context so that the selection may not seem a fragment. In some instances this note gives the historical setting of a masterpiece or tells something of the circumstances under [16] which it was written, when those facts help to an appreciation of the selection.

Sometimes an acquaintance with the personality of an author is so necessary to a clear understanding of what he writes that a brief sketch of his life or a few anecdotes that show his character are given in the note preceding what he has written. These notes are printed in the same type as the text, especially in the first four volumes, for they are felt to be worthy of equal consideration. Besides the biographical notes appended to selections, there are not a few more pretentious sketches that have been given prominent titles in the body of the books.

These have been prepared expressly for this work, either by the editor or by some one fully acquainted with the subject and accustomed to writing for young people.

Search Results

These biographies are written from the point of view of young people, and contain the things that boys and girls like to know about their favorite authors or some of the noble men and women whose lives have made this world a better and a happier place in which to live. In the earlier volumes they are brief, simple, and largely made up of anecdotes; later they are more mature, and show something of the reasons that make the lives interesting and valuable material for studies. Care has been exercised in the selection of these, so that in each case, while the extract is of interest to young people, it is also fairly representative of the larger work from which it has been taken.

Pronouncing Vocabularies. Children often [17] find difficulty in pronouncing proper names, and not many have at hand any books from which they can obtain the information. At the end of every volume is a list of the important proper names in that book, and after each name the pronunciation is given phonetically, so that no dictionary or other reference work is necessary. Since each volume has its own list, it is not necessary even to lay down the book in hand and take up the last volume.

The illustrations in the several volumes form one great feature in the general plan. They alone will do much to interest children in the reading, and if attention is called to them they will be found to increase in value. The color plates in each volume, the numerous fine halftones of special design, and the hundreds of pen and ink drawings that illuminate the text have been painted and drawn for these books, and will be found nowhere else.

More than twenty artists have given their skill and enthusiasm to make the books brighter, clearer, and more inspiring. The initial letters and the many fine decorations also belong exclusively to the set, and combine to give it esthetic value. Everything of this nature will command attention and hold interest. Tables of Contents. Beginning each volume is a table showing the contents of the volume and the names of authors. It forms a means of ready reference to the larger divisions of the work and is a handy supplement to the index.

At the end of the tenth volume is an index to the whole ten volumes. There may be found not only each author and title in alphabetical order, but also a complete classification of the selec [18] tions in the set. W hen a child is taught the little nursery rhymes which to us may seem to be meaningless jingles, he is really peeping into the fields of literature, taking the first steps in those journeys that will end in Shakespeare, Browning and Goethe.

When his infantile ear is caught by the lively rhythm and the catchy rhymes, he is receiving his first lessons in poetry. That the lessons are delightful now he shows by his smiles, and in middle life he will appreciate the joy more keenly as he teaches the same little rhymes to his own children.

Most children know the rhymes when they come to school and they will like to read them there.

Later, perhaps in the high school or the grammar grades, he will be interested again in learning that the rhymes are not wholly frivolous and that there may be reasons why these rhymes should have survived for centuries in practically unchanged forms. Some of the facts that may be brought out at various times are the following:.

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Daffy-Down-Dilly page In England one of the earliest and most common of spring [19] flowers is the daffodil, a bright yellow, lily-like blossom, with long, narrow green leaves all growing from the bulb. The American child may know them as the big double monstrosities the florist sells in the spring, or he may have some single and prettier ones growing in his garden.

The jonquil and the various kinds of narcissus are nearly related white or white and pink flowers. This picture on page 47 of Journeys Through Bookland shows a few daffodils growing. Miss Daffy-Down-Dilly, then, in her yellow petticoat and her green gown, is the pretty flower; and the rhyme so understood brings a breath of spring with it. Humpty Dumpty page This is really a riddle of the old-fashioned kind. There are many of them in English folk lore. Possibly many people who learned the rhyme in childhood never thought of Humpty as an egg.

What answer would you give to the question, Who was Taffy page 54? For similar riddles, see Nancy Netticoat Vol. Ives page As children grew a little older and could begin to read what they already knew, things in which the same words were many times repeated were [20] helpful. The days of the week were taught by Solomon Grundy page 42 , which with its amusing provision for repetition is sure to catch the fancy of a child and keep his thoughts on the words.

Ladybird page This is sometimes known as ladybug, and the bug is the little, round, reddish beetle whose wings are black dotted. It is a pretty, harmless beetle that gardeners like to see around their plants. Some are philosophical, or inculcate moral precepts or good habits, in a simple or amusing way. Little Bo-Peep page 9. Is it not better to let cares and worries alone?

Why cry about things that are lost?