Why was it necessary to have "a day of remarkable chilliness" (p. 3), and a Newfoundland dog rushing into the room (p. 6)?

What principle would it violate to omit these little matters?

(Text-book, p. 24.)

What of the rapidity of movement when they are digging? How has rapidity been gained?

What form of wit does Poe attempt? Does he succeed?

Do you think the conversation is natural? If not, what is the matter with it?

Are negroes usually profane? Does Jupiter's general character lead you to expect profanity from him? Is anything gained by his oaths? Is anything sacrificed? In this story is profanity artistic? (To know what is meant by "artistic," read the last line of "L'Envoi" on p. 253 of the text-book.)

THE VISION OF SIR LAUNFAL.

(Riverside Literature Series, No. 30.)

What is the purpose of the first stanza?

What connection in thought is there between the second, third, and fourth stanzas? What have these stanzas to do with the story? If they have nothing to do with it, what principle of structure do they violate? Would Lowell be likely to do this?

What is the use of the description beginning "And what is so rare as a day in June"?

Would the story be complete without the preludes? Would the teaching be understood without them?

Are time and place definitely stated in the poem? Why should they be, or not be?

Why does so much time elapse between Part I. and Part II. of the story?

In what lines do you find the main incident?

In the first prelude is Lowell describing a landscape of New England or Old England? Where is the story laid? What comment have you to make upon these facts?

Pick out the figures. Are they useful?

Can you find passages of exposition and description in this narrative?

Why do you call it narration?

What is Lowell's criticism upon himself? (See "Fable for Critics.")

A CHRISTMAS CAROL.

(Riverside Literature Series, No. 57.)

Is the opening such as to catch the attention?

What is the essential idea in the description of Scrooge? Do all details enforce this idea? Do you know Scrooge?

In what paragraph does Dickens tell where the story occurs?

Find places on p. 19 and p. 96 where Dickens has used "in" or "into."

What advantage to the story is the appearance in Scrooge's office of his nephew and the two gentlemen? Do they come into the story again?

Are the details in the description of the apparition on p. 41 in the order in which they would be noted? Which is the most important detail? Where is it in the description?

Is the description of Mrs. Fezziwig on p. 52 successful?

What helps express rapidity of movement in the paragraph at the bottom of p. 53? (See also paragraph on p. 85.)

Examining the words used by Dickens and Hawthorne, which are longer?

Which are most effectual? Are you sure? Rewrite one of Hawthorne's paragraphs with a Dickens vocabulary. What is the result?

What word is the topic of the last paragraph on p. 73?

Recast the first sentence of the last paragraph on p. 77.

Does Dickens use slang? (Do not consider conversation in the answer to this question.)

What is the main incident? Is there one of the minor incidents that could be omitted?

Which one could you most easily spare?

What is the need of the last chapter?

MARMION.

(Rolfe's Student's Series, Vol. 2.)

How do you know the time of "Marmion"?

Do you see any reason why stanza vi. of Canto I. would better precede stanza v.?

Where is the first mention of De Wilton? the first intimation of Clara de Clare? of Constance?

What form of discourse in stanza vii. of Canto II.?

What part in the development of the narrative does Fitz-Eustace's song make?

Does the tale related by the host break the unity of the whole? Is it "another story"? What value has it?

Why does Scott not tell of Marmion's encounter with the Elfin Knight in Canto III.? Where is it told? Why there?

Why is Canto II. put after Canto I.? Did the events related in II.

occur after those related in I.?

How many of the descriptions of persons in "Marmion" begin with the face? How many times are they of the face only?

Try to write the incident related in stanzas xix., xx., xxi., and xxii. of Canto III. in fewer words than Scott has done it without sacrificing any detail.