with real names; that these names are beneath the paintings, and that they each have become the subject of a page of real lessons on life and Americanism. Throughout the magazine is emphasized the really human element. Instead of a certain department being described, a typical leader or workman of that department is represented in photograph, the title of which is the man's name. For example, on one page appears the picture of the shipping clerk at work, entitled, "Richard G. B. Hockman," below which appears this little sketch: "Mr. Richard G. B. Hockman, Hydraulic Plant Shipping Clerk, has earned a reputation for holding his average of mistakes to almost nothing. He joined us over three years ago, when hundreds of thousands of shells were shipped every day, and the accuracy he displayed then has been in evidence in every shipment since then. "Mr. Hockman was born in Holland . . . He was married in Holland in 1903, and has five children, the oldest of whom was, for a time, an office boy with our company." These examples are all typical of the general scheme of this publication, to apply effectively the psychology of positive suggestion toward a definite constructive end. Proof that Mr. Benneker's conception of art's service among men succeeds is the broken testimony of a young Croatian of that factory, who said of Benneker, "I believe he paints God without seeing Him." The writer knows no better lesson than the one by this artist, through this big industry, to those conducting education in what commonly are known as schools. Let the reader call to mind the tactful mother, who, instead of torturing the child for his ills, leads him by suggestion to do the proper thing, and who saves him constantly from doing wrong by calling his attention at the proper time to what will end in a desirable behavior. The skillful teacher, as well as the skillful parent, constantly directs the child's attention to specific conduct in that child, or other children, which deserves approval. The once stubborn child grows gradually to want to do what he had refused to do, when through suggestion the desirable-in-terms-ofsocial standards becomes desirable to him. There can be the moving picture that will stimulate a working wish to be of service, instead of one that suggests vulgarity and highway robbery. Too often the lesson in history fails to emphasize the struggles and self-sacrifices of the great men and women of our country. Let service be suggested, rather than the glory to the individual, of fame. In the lessons on vocational guidance, especially to the adolescent of the Junior High School, instead of everlastingly suggesting the individual advantages to be derived from working in this industry and that, let there be a "cultural," a vocationalappreciation-course, emphasizing service, pointing out the indispensability of this industry and that and of this workman and that within an industry. Let every vocation be studied by the youth, not so much for its monetary evaluation as for its opportunity for service. Who better than the teacher, always a living example of self-sacrifice, can constantly suggest to the learner that the life worth while to choose is the life of service. Let children study the vocations, too, with the constant suggestion that this man and that acts and feels in a certain way because of how he makes his living. Hence, to know how our neighbors work and think and feel will make us understand them better and enjoy their association. Such positive suggestions would inevitably lead toward a real, effectual democracy. Let every teacher take a lesson then from the artist's new attractive service in controlling human conduct by painting positive suggestions. Outline Study of Scott's "Kenilworth" (SIR WALTER SCOTT, 1771-1832.) A. PREPARATORY WORK. CHARACTER OF "KENILWORTH": PLOT OF THE NOVEL: ACTORS IN THE STORY. I. CHARACTER OF "KENILWORTH." Note 1. Kenilworth, published in 1821, the second of Sir Walter Scott's romances drawn from English history, contains the story of Amy Robsart, Countess of Leicester, whose death would open up to the ambition of her husband, Earl of Leicester, the opportunity of sharing the crown of his sovereign, Queen Elizabeth. The novel is historical in its atmosphere and setting. The manners and customs of "Merry England" are represented with absolute fidelity; the portrait of Queen Elizabeth, the central figure of the novel, is lifelike and correct; and the courtiers that surround her, the brilliant and famous characters of the period-Burleigh, Spenser, Raleigh, the earls of Sussex and Leicester-are true to traditional type. The novel takes its name from Kenilworth castle, the home of the Earl of Leicester, which Elizabeth graciously condescended to visit, and in which she was entertained with all the pomp and splendor of the age. (See Test Question 21.) II. PLOT OF THE NOVEL. Note 2. The plot of the novel centers in the ambition of the Earl of Leicester to become King-consort, and in the ambition of his follower, Richard Varney, to rise to political power with his patron. The chief factors in the execution of the plot are: (1) the necessity of concealing Leicester's marriage; (2) Varney's efforts to bring about the death of Amy Robsart, Leicester's wife. This plot is complicated by (1) the continual struggle between Leicester's ambition and his sense of justice; (2) the unselfish devotion of Tressilian to Amy, Countess of Leicester. III. ACTORS IN THE STORY. 1. Elizabeth, Queen of England. Note 3. In his introduction to Kenilworth, Scott says: "I have endeavored to describe Elizabeth as at once a high-minded sovereign, and a female of passionate feelings, hesitating betwixt the sense of her rank and the duty she owed her subjects on the one hand, and on the other her attachment to a nobleman, who, in external qualifications, at least, amply merited her favor." 2. The Earl of Leicester, an English courtier, politician, and general. 3. Sir Walter Raleigh, an English courtier; later an officer, colonizer, and historian. 4. Sir Nicholas Blount, master of the horse to the Earl of Sussex. 5. Sir Richard Varney, master of the horse to the Earl of Leicester. 6. Amy Robsart, the unacknowledged wife of the Earl of 7. 8. Leicester. Giles Gosling, landlord of the Black Bear Inn at Cumnor. Edmund Tressilian, the betrothed of Amy Robsart before she became Countess of Leicester. 9. Anthony Foster, agent of the Earl of Leicester at Cumnor Place. 10. Michael Lambourne, a retainer of the Earl of Leicester. 11. Alasco, Dr. Demetrius Doboodie, an old astrologer. 12. Dickie Sludge, the dwarf of Whitehorse Vale. 13. Wayland Smith, blacksmith in the Vale of Whitehorse. Afterwards disguised as a peddler at Cumnor Place. Note 4. The legend of Wayland, the most skillful of smiths, is used with effect by Scott in Kenilworth. (See Note 14.) B. FIRST READING. OUTLINE OF THE NARRATIVE AND STUDY OF THE TEXT. I. OUTLINE OF THE NARRATIVE: STUDY OF THE TEXT. Note 5. The chapters designated in the headings should be read aloud in class. 1. Chapters 1 and 2. An Evening at the Black Bear Inn. a. Time and place of action. Note 6. The Black Bear Inn was at Cumnor, a village a few miles from Oxford, in Oxfordshire, a south midland county of England. The scene opens in 1575. The first two chapters of the novel fix the date of the story, surround the reader with the atmosphere of the time, introduce him to one of the chief characters of the story, and hint at the plot of the novel. b. Description of the inn; the landlord; the guests. c. The episode of Michael Lambourne. d. Master Goldthred's story of Cumnor Place and its mysterious occupant. e. The silent guest. (1) At what point does he join in the conversation? Suggestion 1. Enumerate the characters appearing in these |