V (42). A Written Test This exercise is designed to give a fairly severe test of each pupil's real understanding of the reasons for using capitals and certain marks of punctuation under conditions already studied. Most pupils should be able to write the exercise without further directions than those given in the pupils' book. Go about among the pupils as they work to discover and to assist, as needed, any who may not be working intelligently. The whole exercise should be completed by every pupil, so that you may know just where each pupil stands, just what he knows thoroughly, and what he still has to master. Its division into six parts will facilitate the handling of it. Some pupils may do the whole of it in a single long period; some may require six periods, if they are short. Let each pupil correct his work carefully under your guidance. VI (44). Studying a Dialogue Work with the children in their efforts to put the dialogue into narrative form, but work with them in a way to encourage each one to conceive and to describe his own mental picture of the scene between the fairy and the child; avoid even the suggestion of a single picture which all may adopt. For example, at the outset you may ask of one child and another such questions as these: STUDYING A DIALOGUE 39 Where is your little girl? (In the forest, under a tree, beside a brook, by a spring, in a meadow.) What is she doing there? (Standing under an oak tree, leaning against it, lying on the ground, looking into the clear spring.) Encourage different answers from different children, but see that their answers to different questions are consistent, as evidence that each one really has a clear-cut picture in mind. In the second sentence, announcing the appearance of the fairy, try to have embodied a little touch of surprise. Fairies are wont to appear suddenly and unexpectedly. So instead of a matter-of-fact statement, such as, A fairy came to her and said, "Why do you weep, my child?” try to get an expression something like this: "Why do you weep, my child?" asked a sweet, low voice. As you work through the remainder of the exercise with the pupils, following the questions and suggestions in their book, aim at smooth sentences so connected as to make a narrative. Perhaps the narrative will take a form something like this: One day a little girl sat beside a stream, weeping bitterly. 66 Are you a fairy?" asked the child in surprise. "Yes, I am a fairy. But you have not answered my question," replied the fairy. "I was crying because I lost my pearl beads," answered the child. The fairy held out a string of beautiful pearls. "Are these your beads?" she asked. The child looked at the beautiful pearls. How she did wish they were hers! "No, those are not my beads," she answered slowly. The fairy smiled at the child. Then she placed the string of beads in the child's hand. "My child, I see that you are truthful. These are fairy beads. Any one who wears them will be protected from all harm. Take them, my child. I give them to you." After several children have told the story connectedly from the beginning, each in his own way, tell them the story in your way. This exercise is important, not merely as an oral exercise in itself, but as a preparation for the more difficult written exercise which is to follow. Use the terms dialogue and narrative freely so that the pupils may become familiar with them. VII (47). Writing a Narrative from a Dialogue Before allowing the pupils to write, go over with them the Things to Remember in their book, to insure their observance of these things in their writing. As they write, go about among them, constantly seeking to prevent as many mistakes as possible. An opportune suggestion or question is very ef fective. It is important that every pupil correct his own work, under your guidance, giving reasons for every correction. (See p. 16.) UNSTUDIED DICTATION VIII (48). Unstudied Dictation THE BUSY CHILD “I am sorry you don't like lessons, Bruno," I said. 4I "You should copy your sister. She is always as busy as the day is long." "Yes, and so am I," answered Bruno. "No, you are as busy as the day is short," his sister replied. 66 Sir, what is the difference?" asked Bruno. - LEWIS CARROLL This unstudied dictation will test the pupils' ability to apply what they have been learning about the use of capitals and various marks of punctuation. Before beginning the dictation, prepare pupils to succeed by asking such questions as these: How are yes and no separated from the rest of the sentence? Where should commas be placed in this sentence: "Yes, and so am I," answered Bruno? (Have a child write the sentence on the board and punctuate it.) How is the name of the person spoken to, or addressed, separated from the rest of the sentence? (Read the first sentence of the first paragraph, ending with Bruno, and ask where a comma is to be placed. Read also the quotation in the last paragraph, and ask where a comma should be placed.) In dictating, tell what the title is, also indicate the beginning of each paragraph. (See p. 15.) Dictate slowly and distinctly, a complete sentence at a time. Demand the undivided attention of every pupil while dictating a sentence. Let pupils repeat each sentence after you aloud in concert before beginning to write. After the first paragraph has been written, ask, without calling for answers aloud, such questions as these: In this paragraph is any one speaking? To whom am I speaking? What do I say? What marks should be placed around the words I speak? Have you done this? Similar questions may be asked after each paragraph. In this way you not only anticipate mistakes and secure the immediate correction of many; you train the child to work intelligently and critically. After such a careful and critical dictation, the correction of papers should be easy. Let each pupil correct his own mistakes, every one, under your direction, giving reasons for every correction. IX (48). Writing Contractions Examine pupils' work as they write, and have any errors corrected at once. Question and test pupils on Things to Remember as may be necessary. |