COURSE OF STUDY
OF THE
OAKLAND HIGH SCHOOL
OAKLAND, CALIFORNIA
[Illustration]
JULY, 1912
------------------------------------------------------------------------
INDEX
PAGE
Algebra, Elementary 34
Algebraic Theory 35
Botany 37
Chemistry 39
Choral, Advanced 49
Choral, Elementary 49
Civics 32
Composition 22
Composition, Oral 28
Course of Study in Outline 4, 5, 6
Designing 51
Drama 20
Drawing 51
Drawing, Freehand 51
Drawing, Freehand Advanced 51
Drawing, Geometric 51
Drawing, Industrial Arts 51
Drawing, Mechanical 51
Economics 33
English 7
English Literature 7
French 47
Geometry, Plane 34
Geometry, Solid 35
German 44
Greek 41
Gymnasium 52
Harmony 49
History 31
History, Ancient 31
History, English 32
History, General 31
History, Medieval and Modern 32
History, United States 32
Hygiene and Physical Education 52
Latin 42
Literature, English 7
Mathematics 34
Music 49
Music, Composition 49
Music, History of 49
Physical Education and Hygiene 52
Physical Geography 37
Physics, Brief Course 39
Physics, Full Course 39
Physiology and Hygiene 38
Public Speaking 19
Science 37
Trigonometry 35
Zoology 38
Outline of Course of Study
═══════╤═══════════════════════════════╤═══════════════════════════════
│ COURSE I. │ COURSE II.
│ │
│Preparatory to the University │
│of California in the Colleges │
│of Letters, Social Sciences, │Preparatory to the University
│Natural Sciences, Commerce, │of California in the four-year
│Agriculture, and the five-year │courses in the Colleges of
│courses in the Colleges of │Mechanics, Mining, Civil
│Mechanics, Mining, Civil │Engineering, and Chemistry.
│Engineering and Chemistry, and │
│the course of Architecture. │
───────┼───────────────────────────────┼───────────────────────────────
=FIRST │English │English
YEAR= │ │
„ │Algebra │Algebra
„ │Foreign Lang. Ancient or Modern│Foreign Language
│(see Note 1) │
„ │Elective │Freehand Drawing
───────┼───────────────────────────────┼───────────────────────────────
=SECOND│English │English
YEAR= │ │
„ │Geometry │Geometry
„ │Foreign Lang. Ancient or Modern│Foreign Language
│(see Note 1) │
„ │Elective │Geometrical Drawing
───────┼───────────────────────────────┼───────────────────────────────
=THIRD │Foreign Lang. Ancient or Modern│English or Foreign Language
YEAR= │(see Note 1) │
„ │Elective │Chemistry
„ │Elective │Mathematics
„ │Science │Elective
│(Any 3rd or 4th year Science if│
„ │preferred, Science may be taken│
│in the 4th instead of the 3rd │
│year.) │
„ │Foreign Lang. Ancient or Modern│
│(see Note 1) │
───────┼───────────────────────────────┼───────────────────────────────
=FOURTH│U. S. History and Civics │English or Foreign Language
YEAR= │ │
„ │Elective │U. S. History and Civics
„ │Elective │Physics
│(Science must be taken in this │
„ │year, if not already taken in │Mathematics
│the third year.) │
───────┴───────────────────────────────┴───────────────────────────────
═══════╤═══════════════════════════════╤═══════════════════════════════
│ COURSE III. │ ELECTIVES
│ │
│General Course, not preparatory│
│to the University. At least │
│three years’ work in each of │Starred subjects are not
│three of the following groups │included in the General List of
│of subjects is required for │Preparatory subjects for
│graduation from the general │admission to the University of
│course: English, History, │California.
│Mathematics, Foreign Languages,│
│Science, Music and Drawing. │
───────┼───────────────────────────────┼───────────────────────────────
=FIRST │English │*Choral I
YEAR= │ │
„ │Elective (See Note 3) │Algebra
„ │Elective │General History
„ │Elective │Ancient History
„ │ │Freehand Drawing
„ │ │German I
„ │ │French I
„ │ │Latin I
„ │ │General Science
───────┼───────────────────────────────┼───────────────────────────────
=SECOND│English │Choral II
YEAR= │ │
„ │Elective │Botany
„ │Elective │Plane Geometry
„ │Elective │Med. and Mod. History
„ │ │Geometrical Drawing or
│ │*Designing
„ │ │German II
„ │ │French II
„ │ │Latin II
„ │ │Greek I August
───────┼───────────────────────────────┼───────────────────────────────
=THIRD │English (see Note 2) │Elements of Harmony
YEAR= │ │
„ │Elective │*Economics
„ │Elective │*Dramatics
„ │Elective │Chemistry
„ │ │English History
„ │ │*Applied Designing
„ │ │*Advanced Freehand Drawing
„ │ │Solid Geometry ½
„ │ │Trigonometry ½
„ │ │English III
„ │ │German I or III
„ │ │French I
„ │ │Latin I or III
„ │ │Greek I or II August
„ │ │*History of Art
„ │ │Zoology
„ │ │*Argumentation
„ │ │Advanced Algebra ½
„ │ │*Public Speaking
───────┼───────────────────────────────┼───────────────────────────────
=FOURTH│U. S. History and Government │History of Music
YEAR= │ │
„ │Elective │*Economics
„ │Elective │Physiology and Hygiene
„ │Elective │Physics
„ │ │Advanced Algebra ½
„ │ │*Argumentation
„ │ │English IV
„ │ │German II or IV
„ │ │French II or IV
„ │ │Latin II or IV
„ │ │Greek II or III August
„ │ │*Astronomy ½
„ │ │Solid Geometry ½
„ │ │Trigonometry ½
───────┴───────────────────────────────┴───────────────────────────────
In addition to the subjects on preceding pages, a certain amount of
Physical Culture will be required of all students. Hygiene is prescribed
for all girls in the second year.
Pupils preparing to enter one of the California State Normal Schools are
advised to register for Course I or Course II.
Note 1. The University of California will accept either Ancient or
Modern Languages or both for admission. But since the University
requires Latin for graduation from the Colleges of Letters and Social
Sciences, and does not offer instruction in the first two years of high
school Latin, students preparing to enter these Colleges must take at
least two years of Latin. Latin is not required for admission to or
graduation from other colleges.
Note 2. In the General Course, Third Year English will be required of
all students who do not take at least two years of Foreign Language.
Note 3. One year of Science is required for graduation from the General
Course. It may be taken in any year of the course.
Note 4. In electing Sciences and Music, students may choose electives
from the preceding or succeeding year as well as from electives for the
year in which the student is registered. General Science, if taken, must
precede any other science. One year science will be required for
graduation from any four-year course.
Note 5. A student will not be allowed to take more than the equivalent
of four recitations per day unless by special agreement between the
principal and the student’s parents.
Note 6. Except as provided in Note 7, sixteen credits, each requiring at
least two forty-five-minute periods per day for recitations and
preparation for one year will be required for graduation.
Note 7. One of the sixteen credits required under Note 6 will be granted
for work in literary, athletic or other student activities (including
debating, and choral and orchestral music) in student societies
operating under the supervision of the principal or some faculty member
designated by him. This credit shall be granted under rules established
by the principal.
Note 8. No class shall be organized or maintained in the first or second
year of any high school unless at the beginning of the year there shall
be enrolled in the class not less than twenty-five students, provided
that in the second year a course, which is a continuance of a first year
course, may be maintained if not less than twenty students are enrolled
therein.
Note 9. No class shall be organized or maintained in the third or fourth
year of any high school unless at the beginning of the year there shall
be enrolled in the class not less than fifteen students, provided that
no class shall be suspended unless the same subject is being given in
some other high school in this city.
Note 10. When any course is given in more than one high school, there
shall be uniformity in text-books, and in the content of the course of
study pursued.
COURSE OF STUDY
ENGLISH.
LITERATURE COURSE.
=Aims=
1. To arouse an interest in the best that has been written by making
students enjoy their English work.
2. By means of this interest in the best, to help develop right ideals
of thought and action.
3. To train in intelligent, appreciative reading; viz., to be able to
get the writer’s thought and to acquire some standards of judgment as to
what constitutes true literature.
=Divisions.=
1. Literature studied in class.
2. Collateral reading done in connection with the literature studied and
under the general direction of the teacher.
3. Reading selected at will from a general list, composed not
necessarily of masterpieces, but of wholesome books interesting to young
people, the purpose being to encourage reading and to furnish
suggestions as to what is worth while.
NINTH YEAR.
First Term.
=Literature Studied.=
The Iliad, Books 1, 6, 22 and 24. Bryant’s Translation.
The Odyssey. Complete. Palmer’s Translation.
Antigone.
=Collateral Reading.= Selections from the following:
The Iliad (At least four more books.) Homer.
Wonder Book. Hawthorne.
Tanglewood Tales. Hawthorne.
Greek Heroes. Kingsley.
Earthly Paradise. Morris.
The Æneid. Virgil.
Masque of Pandora. Longfellow.
Iphigenia in Aulis. Euripides.
Iphigenia in Tauris. Euripides.
Alcestis. Euripides.
Ulysses. Stephen Phillips.
Balaustion’s Adventure. Browning.
Pheidippides. Browning.
Rhoecus. Lowell.
Out of the Northland. Child.
Old Testament Stories.
The Song of Roland.
The Niebelungenlied.
Beowulf. Child.
=Method.=
1. Introduction to Greek life and thought, especially of religion.
(Talks by the teacher and reports by students on topics assigned.)
2. Reading of the most important stories of the gods and older heroes.
(Teach in connection with 1 and 2, the use of reference books.)
3. Reading of literature assigned, (1) for interest in story; (2) in
characters; (3) in customs of the times; (4) in heroic ideals; (5) for
fine lines. Try to recreate the Homeric life and to bring out the
elements of permanence.
4. Enough attention to allusions and meanings of words to insure
intelligent reading, but no more.
5. Study the “Antigone” broadly for story and characters, and to arouse
an interest in the difference between the Greek and modern play, but
avoid technicalities here. Develop the ability to find fine lines.
6. Occasional reports, oral and written, on allied subjects; such as,
Greek temples, sacrifices, the priesthood, famous festivals, or on
collateral reading.
NINTH YEAR.
Second Term.
=Literature Studied.=
1. Horatius, Macaulay’s Lays. Old English Ballads. Sohrab and Rustum,
Matthew Arnold, or Lady of the Lake, Scott.
2. Prose Literature for Secondary Schools. Ashmun.
3. One of the following novels:
Treasure Island. Stevenson.
Kidnapped. Stevenson.
Ivanhoe. Scott.
Quentin Durward. Scott
The Talisman. Scott.
=Collateral Reading.=
(Selected)
Lady of the Lake. Scott.
Lay of the Last Minstrel. Scott.
Marmion. Scott.
Lays of Ancient Rome. Macaulay.
The Boys’ King Arthur. Lanier.
Tales of a Grandfather. Scott.
Kenilworth. Scott.
Woodstock. Scott.
Rob Roy. Scott.
David Copperfield. Dickens.
Old Curiosity Shop. Dickens.
=Method.=
First Group.
1. Read for interest in story and character. Never lose sight of this.
2. Work to develop the pictorial imagination. The method of the drama
will help; i. e., set the scene, describe accurately the actors, dress
them appropriately, imagine facial expression, tone of voice, gesture
and action.
3. Stimulate discussion on characters and motives actuating them.
4. Occasional close work on fine descriptive passages. Image them
accurately. Bring out by this effort the obvious differences between
poetic and prose diction, but no special study of this here.
5. Connect with the preceding term’s work when possible, by comparison
of the heroic ideals with those of the Greeks.
Second Group.
Follow the general trend of the suggestions given in the text. The aim
is to arouse an interest in prose devoid of strong story element.
Third Group.
Follow the general directions for the study of the first group. Give
simple training in the development of a plot, but keep this subordinate
to interest in the story and characters.
TENTH YEAR.
Second Term.
=Special Aim of the Term.=
To teach to read poetry with enjoyment, and to show that poetical
expression is an addition to beautiful thought.
=Literature Studied.=
First Half Term.
The Vision of Sir Launfal. Lowell.
The Forsaken Merman. Arnold, or
King Robert of Sicily. Longfellow.
The Ancient Mariner. Coleridge.
Second Half Term.
The Merchant of Venice. Shakespeare.
Sesame and Lilies (King’s Treasuries). Ruskin.
=Collateral Reading.=
Any narrative and descriptive verse rich in ethical and poetical beauty;
such as,
Enoch Arden. Tennyson.
Snow Bound. Whittier.
The Eve of St. Agnes. Keats.
The Golden Legend. Longfellow.
Tales of a Wayside Inn. Longfellow.
Drifting. Buchanan Read.
The Closing Scene. Buchanan Read.
Nature Lyrics. Lowell.
Twelfth Night. Shakespeare.
Midsummer Night’s Dream. Shakespeare.
The Tempest. Shakespeare.
As You Like It. Shakespeare.
The Alhambra. Irving.
Travels with a Donkey. Stevenson.
An Inland Voyage. Stevenson.
South Sea Idyls. Stoddard.
Lorna Doone. Blackmore.
=Method.=
1. Simple presentation of the differences between poetry and prose;
(1) in purpose,
(2) in thought (subject),
(3) in choice and use of words,
(4) in sound.
2. Short drill on selected figures, principally of imagination. Choose
only those rich in meaning and within the range of the experience of the
class. Work to bring out the gain from the figure.
3. Present the music side of poetry—rhythm, meter, rhyme (including
alliteration), and give a drill on various selections to train the ear.
4. “Vision of Sir Launfal.” Study for beauty of thought, ethical content
and its application to modern life, and beauty of pictures and figures.
Give much attention to the visualizing power. Try to show that the
poetic language and form are a gain.
5. Study of other narratives on same general plan. If time permit, study
a few lyrics rich in content and poetic beauty, such as Tennyson’s
“Lotus Eaters,” or Shelley’s “Skylark;” (1) for thought; (2) for beauty
of word usage; (3) for melody.
6. “Merchant of Venice.” Study (1) for what happens—the sequence of
events and their relation to each other; (2) for a knowledge of the
characters and the motives actuating them; (3) for fine lines; (4) for
strongest and most beautiful scenes; (5) for beauty of language, noting
scenes richest in poetic expression and its appropriateness; (6) for
structure; i.e., the major and minor stories and their relation to each
other. Throughout the whole emphasize the fact that the play is a
picture of human life; make the characters and the scenes real.
7. “Sesame and Lilies.” Study to stimulate thought and to arouse a
further interest in fine literature. Train in the way to read prose; i.
e., the finding of the main thought (topic sentence), and tracing its
growth in the paragraph; also the necessity for knowing the real
significance of the words used.
TENTH YEAR.
Second Term.
=Literature Studied.=
First Half Term.
Continuation of the study of the drama Julius Caesar.
Second Half Term.
Training in careful, intelligent reading of prose, expository and
argumentative.
Public Duty of Educated Men. Curtis.
International Arbitration. Schurz.
Salt. Van Dyke.
(From Shurter’s Masterpiece of Modern Oratory).
First Bunker Hill Oration. Webster.
=Collateral Reading.=
Richard II. and III. Shakespeare.
Henry V. Shakespeare.
Coriolanus. Shakespeare.
Henry IV. Shakespeare.
The Jew of Malta. Marlowe.
Richelieu. Bulwer-Lytton.
The Plymouth Oration. Webster.
The Second Bunker Hill Oration. Webster.
The Eulogy on Adams and Jefferson. Webster.
(Other speeches from Shurter’s Masterpieces).
=Method.=
1. “Julius Caesar.” Same general treatment as with “Merchant of Venice,”
with more emphasis on study of plot—the conflicting interests, the
threads of action, character groups, character contrast, the division in
the plot, the important moments—but never emphasize technique at the
expense of study of the play as a picture of life. Much memorizing of
fine lines.
2. Prose. (1) Find main thought of each paragraph (topic sentence) and
trace its growth, noting the method of development when clear; (2) group
related paragraphs and note relation of different groups to each other;
(3) note introductory, transitional, summarizing and concluding
paragraphs; (4) show further the necessity for a clear, definite content
for each word and a knowledge of references. Owing to the difficulty of
this work, it is well at first for teachers to study with the class, in
order to arouse interest in the thought and prevent discouragement.
Power to work independently will soon grow.
ELEVENTH YEAR.
First Term.
=Literature Studied.=
1. Continuation of work of the tenth year with poetry.
The Idylls of the King. Tennyson.
The Coming of Arthur.
Gareth and Lynette.
The Holy Grail.
The Passing of Arthur.
2. Study of a novel.
Silas Marner. George Eliot, or
The Tale of Two Cities. Dickens.
3. Study of the Essay.
Autobiography and Lay Sermons. Huxley, or
Warren Hastings. Macaulay.
=Collateral Reading.=
The Idylls of the King (Enid, Elaine, and Guinievere).
The Princess. Tennyson.
The Lady of Shalott. Tennyson.
Sir Galahad. Tennyson.
Merlin and the Gleam. Tennyson.
The Light of Asia. Edwin Arnold.
Balder Dead. Matthew Arnold.
Lord Clive. Macaulay.
Life of Johnson. Macaulay.
The Americanism of Washington. Van Dyke.
Latter Day Saints and Sinners. Ross.
The Life of Lincoln. Schurz.
Fisherman’s Luck. Van Dyke.
Adventures in Friendship. Grayson.
Adventures in Contentment. Grayson.
Out of the East. Lafcadio Hearn.
My Summer in a Garden. Warner.
Reveries of a Bachelor. Mitchell.
Dream Children. Mitchell.
=Method.=
1. Idylls of the King. Study for (1) nobility of thought and ideals of
life; (2) beauty of pictures; (3) imagery and word usage; (4) blank
verse and noticeable sound effects. Make special effort as in the first
half of the tenth year, to develop the imagination and an appreciation
of the gain from beautiful expression.
2. The novel. (1) Train in open-eyed reading; the story and the
characters should be known thoroughly. (2) Aim to enlarge the experience
by acquaintance with new motives and actions. (3) Seek for the
underlying ideas in the story and for the working out of great laws. (4)
Study of structure as in the drama.
3. The Essay. Continue paragraph work of the tenth year, second half,
with new emphasis on kinds of paragraph development. Distinguish between
narrative, descriptive, and expository paragraphs, and the methods of
development in each. Begin the study of prose style; i.e., rhetorical
sentences and their value: studiously long and short sentences, periodic
sentences, antithesis and climax; also study vocabulary, especially, in
Macaulay, the use of concrete terms and their value. Select striking
paragraphs for close work on style, and study to discover method.
ELEVENTH YEAR.
Second Term.
=Literature Studied.=
American Literature.
1. Poetry. Class work on selected poems of Bryant, Poe, Longfellow,
Emerson, Whittier, Holmes, Lowell, Walt Whitman.
2. The Novel.
House of Seven Gables. Hawthorne, or
Marble Faun. Hawthorne, or
Rise of Silas Lapham. Howells.
3. The Short Story. Hawthorne and Poe.
4. The Essay. One of the following:
Fortune of the Republic. Emerson.
The American Scholar. Emerson.
Compensation. Emerson.
Democracy. Lowell.
=Collateral Reading.=
Franklin. Autobiography.
Sketch Book. Irving.
The Alhambra. Irving.
Knickerbocker History of New York. Irving.
Last of the Mohicans, or any other novel. Cooper.
Lesser poets of the Creative Period:
Aldrich.
Bayard Taylor.
Buchanan Read.
Alice and Phoebe Cary.
Holland.
Later Poets:
Lanier.
Bret Harte.
Edward Rowland Sill.
Helen Hunt.
Eugene Fields.
James Whitcomb Riley.
Richard Watson Gilder.
Edwin Markham.
The Man Without a Country. Edward Everett Hale.
The Autocrat of the Breakfast Table. Holmes.
Walden. Thoreau.
=Method.=
The course is to be taught historically, by means of lectures, class
study of the most important authors, and much collateral reading. The
purpose is to arouse an interest and pride in America’s literary
product, therefore the work is taught more broadly than in preceding
terms. Preface the course with a brief consideration of what is meant by
the term literature, and with a review of simple poetics as a basis for
the future study of poetry.
1. Poetry. Select for study poems not usually read in the grammar
school, unless the well known have a content of growing interest;
examples: Longfellow’s Keramos, Amalfi, Morituri Salutamis; Lowell’s
Commemoration Ode; Emerson’s Each and All.
2. The novel. Same plan as in preceding term.
3. The short story. Develop (1) the characteristics of a successful
short story; (2) the differences between this and a novel; (3) the
various types of short story; (4) some definite standards of judgment
for future use.
4. The essay. Read mainly to stimulate thought on life.
5. Make the collateral reading an important part of this course. Have
outside reading done on each author studied and on others for whom there
is not time for class work. Help toward intelligent, appreciative
reading by assigning special topics on the literature read, and give
occasional recitation periods to oral reports.
6. Have occasional oral readings from authors not studied in class,
especially the best of the later poets. This may be done frequently in
five-minute exercises at the beginning of the recitations.
7. Put early into the hands of the students a classified list of the
best American authors. Stimulate in every possible way the desire to
read.
TWELFTH YEAR.
=General Purpose for the Year.=
(1) To unify the work of the preceding terms. (2) To give a rapid survey
of the whole field of English Literature. (3) To study selected
masterpieces characteristic of the various periods. (4) To learn the
characteristics of the chief literary types. (5) To read as broadly as
possible in each period. Collateral reading here runs parallel with
class work.
First term.
=Literature Studied.=
History of English Literature to 18th Century.
Prologue to the Canterbury Tales. Chaucer.
Review of the Old English Ballads.
Macbeth. Shakespeare.
L’Allegro and Il Penseroso. Milton.
Comus. Milton, or
Paradise Lost, Books 1 and 2. Milton.
Lycidas. Milton.
Sonnet on His Blindness. Milton.
Alexander’s Feast. Dryden.
=Collateral Reading.=
The epic—Beowulf (at least two-thirds).
The tale—One of Chaucer’s, preferably the Knight’s Tale.
The drama—King Lear. Shakespeare, or
Hamlet. Shakespeare, or
Othello. Shakespeare, or
The Jew of Malta. Marlowe, or
Doctor Faustus. Marlowe.
The song—Palgrave’s Golden Treasury. Books 1 and 2.
The essay—Essays selected. Bacon.
The allegory—Pilgrim’s Progress (Part I). Bunyan.
The elegy—Elegy in a Country Churchyard. Gray.
Adonais. Shelley.
Thrysis. Matthew Arnold.
In Memoriam. Tennyson.
Thanatopsis. Bryant.
=Method.=
In general study broadly to stimulate a desire for further acquaintance
with literature, but whenever made possible by the work in hand, review
and sum up principles emphasized throughout preceding terms.
=Chaucer.= Read (1) for a picture of the times; (2) to discover his
broad humanity; (3) for his humor and satire; (4) for his literary
method. Do not attempt to teach pronunciation or grammar, but insist on
smooth, intelligent translation.
=The Ballads.= Read to find the characteristics of ballad literature.
Compare with the literary ballad; such as, The Ancient Mariner, Scott’s
Rosabelle, or Rossetti’s White Ship.
=Macbeth.= Read principally for great ethical lessons. Emphasize
character development. Have only so much close study as is necessary for
the understanding of the action and characters. Teach as dramatically as
possible; imagine stage setting, tone of voice, facial and bodily
expression, action—in order to enter into the play. Select passages
noticeable for beauty or power of expression and test appropriateness.
=Paradise Lost.= Study as dramatically as possible. Do no line-by-line
study. Get the story, the character of Satan with its mixture of good
and evil, the fine pictures and imagery. Mark fine thoughts, also
examples of loftiness and sublimity, of color and splendor, and of
varying melody.
=Comus.= Study as an example of the masque, keeping the dramatic element
prominent. Set the scenes, imagine stage accessories suggested by the
lines; such as, costumes, lights, tableaux, music. Show differences
between this and the fully developed drama. Do the same kind of work as
in “Paradise Lost” with fine thoughts and beautiful expressions. Show
the lyric element here and its appropriateness.
=Lycidas.= Preface with the reading of examples of the classic pastoral
elegy, in order to familiarize students with the pastoral style and so
remove some of the difficulties. (See Baldwin’s “Famous Elegies” for
translations of Theocritus, Bion, and Moschus). This poem has real
difficulties for young students, therefore the teacher must give wise
assistance in mastering it, or it will fail to make an appeal. Note the
beautiful variation of melody. Show the effect of alliterative and
assonantal rhyme and the grouping and alternation of consonant and vowel
sounds, with resulting changes in music. At the close of the study of
the poem, make a comparative study of it and Gray’s Elegy to show the
difference between the personal and the general elegy.
=Alexander’s Feast.= Study (1) as an imitation of the heroic ode; (2) as
an example of effective wedding of sound and sense.
Second Term.
=Literature Studied.=
History of English Literature from 18th century to present.
Sir Roger de Coverley Papers. Addison & Steel.
The Deserted Village. Goldsmith.
The Vicar of Wakefield. Goldsmith.
Elegy in a Country Churchyard. Gray.
Lyrics. Burns, Wordsworth, Shelley, Keats, and Byron.
Essays of Elia. Lamb.
Joan of Arc. De Quincey, or
Essay on Burns. Carlyle.
Selected Poems. Tennyson, Arnold, Browning.
=Collateral Reading.=
She Stoops to Conquer. Goldsmith.
The Rape of the Lock. Pope.
Essay on Man (Selections). Pope.
Essay on Johnson. Macaulay, or
Essay on Addison. Macaulay.
The Newcomes. Thackeray.
Henry Esmond. Thackeray.
One novel. Dickens.
One novel other than “Silas Marner.” Geo. Eliot.
Essay on Burns. Carlyle, or
Heroes and Hero Worship (Selections). Carlyle, or
Essay on Wordsworth. Matthew Arnold.
=Method.=
In general, treat the literature studied broadly, to leave in the mind
by the end of the term a liking for it and a desire for more. Do only
enough minute study to insure intelligent, appreciative reading and to
prevent carelessness.
=Sir Roger de Coverley Papers.= Preface with topical work on the
character of the 18th century. (See “Social Life in the Reign of Queen
Anne” by Ashton). Read to the class the “Rape of the Lock” as a picture
of the times. Study the De Coverley Papers (1) as a picture of the
times; (2) for the character of Sir Roger and reasons for its life; (3)
for method of character delineation; (4) for method of teaching; (5) for
examples of humor and satire; (6) for observations of human nature.
Select some expository paper for close study of structure: introduction
and conclusion, paragraph development, coherence.
=Gray, Goldsmith, Burns.= Study to discover characteristic features of
the “Romantic Revival,” and survivals of 18th century style. Try to show
by Burns’ lyrics and by a return to 16th century lyrics the essential
characteristics of the song.
=The Vicar of Wakefield.= Rapid study of humorous situations,
lovableness of the characters, kindliness and gentleness of the author,
elements of permanence. Comparison with some later novel.
=Shelley, Keats, Byron.= Closer attention to the beauties of poetic
expression and its relation to the thought: pictures, figures, color and
sound words, meter, rhyme effects.
Review by the end of the term the main periods of English Literature,
their distinguishing characteristics, and the great names of each, also
the main literary types.
PUBLIC SPEAKING.
=Prerequisite.=
Two years of English. May be substituted for either term of the 11th
year or taken in addition to the regular course.
=Texts.=
Extempore Speaking. Shurter.
Manual of Argumentation. Laycock and Spofford.
Manual of Parliamentary Law. Gregg.
=Method.=
First Half Term.
1. Training in simple parliamentary law.
2. Practice in reading and reciting speeches of others.
3. Original speeches, prepared and extempore, such as, speeches of
introduction, nomination, presentation, acceptance, eulogy, farewell,
toasts.
4. Reading of oratorical masterpieces, especially modern ones, and class
discussion as to strength and weakness, elements of success and failure.
5. An original oration.
=Method.=
Second Half Term.
1. Study of the theory of argument.
2. Conciliation with the Colonies. Burke.
Speech on Reform Bill. Macaulay.
Reply to Hayne. Webster.
Study Burke for structure, logical arrangement, force of
reasoning, different kinds of arguments. Study Macaulay and
Webster as different types of oratory.
3. Making of briefs.
4. Practice in argument and debate.
STUDY OF THE DRAMA.
=Time.=
One-half year.
=Credit.=
One-half unit.
=Prerequisite.=
Two years of English.
May be substituted for either of 11th year English courses, or taken
with either term of the regular 11th or 12th year work.
=Aim.=
1. To awaken in the student a taste for that which is essentially good
in the drama, both as to content and form.
2. To acquaint the student with so much of the history and technique of
the drama as is necessary for intelligent study.
=Contents of Course.=
Plays studied.
1. Antigone. Sophocles, or
Alcestis. Euripides.
2. Everyman.
3. Hamlet. Shakespeare.
Twelfth Night. Shakespeare, or some other Shakespearean tragedy or
comedy.
4. She Stoops to Conquer. Goldsmith, or
The School for Scandal. Sheridan.
5. The Doll’s House. Ibsen.
6. Trelawney of the Wells. Pinero, or
Sweet Lavender. Pinero, or
The Cabinet Minister. Pinero.
7. The Land of the Heart’s Desire. Yeats.
8. The Only Way. (Dramatization of Dickens’ Tale of Two Cities), or
Oliver Twist.
=Collateral Reading.=
Selected plays from the following:
Agamemnon. Æschylus.
Alcestis. Euripides.
The Frogs. Aristophanes.
The Captives. Plautus.
Early English Plays:
Sacrifice of Isaac.
Noah’s Flood.
Secunda Pastorum.
The Jew of Malta. Marlowe.
Knights of the Burning Pestle. Beaumont & Fletcher.
Alexander and Campaspe. Lyly.
Shoemaker’s Holiday. Dekker.
As You Like It. Shakespeare.
Midsummer Night’s Dream. Shakespeare.
The Tempest. Shakespeare.
Henry V. Shakespeare.
School for Scandal. Sheridan.
The Rivals. Sheridan.
The Good Natured Man. Goldsmith.
Lady of Lyons. Lytton.
Becket. Tennyson.
Blot in the Scutcheon. Browning.
Caste. Robertson, or
School. Robertson (for type of new realistic school).
London Assurance. Boucicault (for reversion to 18th century comedy
of manners).
His House in Order. Pinero.
The Magistrate. Pinero.
Judah. Jones.
Doll’s House. Ibsen.
Pillars of Society. Ibsen.
An Enemy to the People. Ibsen.
Ulysses. Stephen Phillips.
The Blue Bird. Maeterlinck.
The Piper. Peabody.
The Servant in the House. Kennedy.
Strife. Galsworthy.
Riders to the Sea. Synge.
=Outline of Class Work.=
1. Origin and development of drama among the Greeks; study of a play
from the period of their highest literary achievement.
2. Brief consideration of the forerunners of the modern English drama;
(1) miracle plays, (2) moralities, (3) early English farces, (4)
pre-Shakespearean drama. Examples of types (2) and (4) studied.
3. Shakespearean Drama: study of one each of the comedy and tragedy
(those not studied in the regular English courses).
4. Brief review of the history of the drama from the beginning of the
17th to the end of the 18th century. Study of one of the best types of
18th century comedy.
5. Important phases of 19th century drama considered. Study of a
transition type.
6. The contemporary drama; its broad range as to both matter and manner
opening great possibilities—of achievement for the dramatist, of
education for the audience.
=Method.=
In accordance with the aims as stated, the technical side of the work
will, for the most part, be presented by the teacher in the form of
concise notes, in order to leave as much time as possible for direct,
appreciative study of plays.
The collateral reading is to be used as illustrative material and for
comparison.
Scenes will be studied and presented by students in the classroom, with
occasional public (school) presentations. Students realize dramatic
values by this means.
Toward the end of the term, students will be encouraged to attempt the
construction of original plays or dramatization of parts of novels and
stories.
WRITTEN COMPOSITION.
The work in composition is so planned as to draw help from the
literature course, but is not based upon it. One period a week in all
classes except Public Speaking and Dramatics is devoted to the work.
=General Suggestions.=
1. Work from the whole to the parts; that is, begin with the whole
composition, and work to the paragraph and sentence.
2. While emphasizing in different terms some one particular kind of
composition, do not limit the work wholly to that form.
3. Make the course cumulative; that is, refer to and emphasize, wherever
possible, principles learned in former terms.
4. In all work, oral and written, whether formal compositions,
examinations or recitations, develop a feeling for organization and
arrangement of thoughts.
5. Encourage expression of the student’s interest, but try to guide and
broaden it. Seek to develop the power to observe accurately; also to
awaken the imagination.
6. Try constantly to enlarge the student’s vocabulary.
7. Insist on correct form, neatness and promptitude. Part of the work of
High School English is to form correct habits.
8. Make all criticisms constructive. Have as much personal conference as
possible.
NINTH YEAR.
First Term.
=Special Work.=
1. Composition, chiefly narrative, but no special emphasis on narrative
as a form of discourse.
2. Punctuation.
3. Letter-writing.
4. Review of grammar.
=Material.=
Reproductions of parts of literature read, reports on outside reading,
imaginative treatment of subjects suggested by the literature lesson,
personal experiences. The following will suggest possible subjects: New
nature myths, new hero stories, additional adventures for Ulysses,
stories illustrating his various traits of character, new endings to old
stories, possible settings for Homeric stories, dialogues between
Homeric characters, descriptions of scenes from the Iliad from the point
of view of an eye-witness, etc.
=Method.=
1. Teach from the beginning correct form and habits of neatness and
care. While emphasizing these, have most of the work reproductive, in
order not to kill spontaneity.
2. Emphasize letter-writing toward the end of the term when the interest
has been aroused in other forms of writing. Select for practice only
such letters as young people would be apt to write.
3. Begin systematic training in punctuation early, and continue with the
composition work throughout the term. Teach the use of the comma,
quotation marks, especially in dialogue, and the terminal marks. Teach
by the logical rather than by the formal method; that is, lead to the
examination of the thought in sentences and to punctuation in accordance
with it.
4. In review of grammar, use Hitchcock’s “Enlarged Practice Book.”
Select chapters treating of the general structure of a sentence, the
nature, kinds, and uses of phrases and clauses; also the exercise on
common errors of speech. Adapt this work to the special needs of each
class. One day a week will be taken for drill if necessary, or it may be
omitted, if classes are well prepared.
Second Term.
Begin the study of separate forms of discourse. Teach what rhetoric is,
and the reasons for studying it.
=Special Work.=
1. Narration, with its involved problem of structure.
2. Continued drill on punctuation.
3. Continued drill in grammar if needed.
=Method.=
1. Begin with narration. Teach during the term the essentials of a
successful narrative.
a. Action (something happening).
b. Point (an idea, a climax).
c. Unity (it must hang together).
d. Style (it must be interesting and entertaining).
Emphasize this kind of work while teaching narrative poetry and prose
(the novel), but do not draw subjects from the literature lesson. From
this term on, composition work should be original. (See Sampson &
Holland’s Composition and Rhetoric for excellent suggestions on teaching
narration).
2. While studying Ashmun’s “Prose Literature for Secondary Schools,”
follow the general line of composition work there suggested.
3. Punctuation. Teach the use of the semicolon, colon, dash, and
exclamation point, and continue drill of preceding term.
4. Simple teaching of paragraph structure; that is, the grouping of
similar thoughts together by their relation to a central idea or topic.
5. Toward the end of the term a brief review of letter-writing.
TENTH YEAR.
First Term.
=Special Work.=
1. Description, with involved problem of diction.
2. Review of letter-writing.
=Method.=
1. Begin with comparative work in two kinds of description: scientific
and literary; that for information and that for enjoyment. Develop this
by the primary essentials of descriptive writing:
a. Point of view.
b. Selection of details.
c. Order and grouping.
d. Objective and subjective character.
e. Appropriate diction.
2. Notice of differences will involve a study of diction: synonyms,
especially adjectives; figures of speech (simile, metaphor, and
personification); words of color, sound, motion, shape, concrete terms.
3. Use as illustrative material examples from scientific writing,
text-books, books of travel, novels, verse. Whenever possible, make the
literature lessons serve as models, but do not draw from them for
subjects. Have all composition original.
4. Later in the term return to narration, and combine with it
description of scenery and character.
5. Throw occasional compositions into the form of the friendly letter,
using some of the best modern letter writers, such as Stevenson, as
models.
TENTH YEAR.
Second Term.
=Special Work.=
1. Exposition, with involved problem of clearness and order.
2. Word-work, with the purpose of enlarging the vocabulary and
developing accuracy in the use of words.
3. Review of letter-writing.
=Method.=
1. Connect with the preceding term’s work by showing that exposition is
description which explains; which shows the general and the common
rather than the particular and the individual; which omits the personal.
2. Develop the following special points:
Arrangement of material.
A. Gathering of ideas, either one’s own or those from standard
authorities. If the latter, give directions on note-taking.
B. Selection of material, according to scale of treatment.
C. Making of outline.
a. Key sentence or announcement of subject.
b. Grouping into leading and subordinate points.
c. Conclusion, with summary where advisable.
Development of material (Paragraph making).
Do no formal work with the paragraph except to teach the
importance of the topic sentence as a means toward unity and
therefore toward clearness. Insist on a clear topic sentence for
each paragraph. Permit any means of development that naturally
suggests itself. Encourage the attempt not only to begin
paragraphs well, but to end them well.
3. Word-work. Give regular exercises once a week for the first half term
on work tending to develop an interest in words and accuracy in their
use; such as, exercises in defining, in synonyms (select only such as
are apt to be misused), on words with interesting history. In defining
insist on correct form and clear distinctions. Vary this work and select
with care, so that it will be vital. It is valueless if formal and
perfunctory.
4. Review briefly business letters, and such social forms (invitations,
acceptances, regrets), as high school students will be apt to need.
ELEVENTH YEAR.
First Term.
The work of the Eleventh year is cumulative, continuing practice in
narration, description, and exposition, with new emphasis on style.
=Method.=
1. While studying the “Idylls of the King” and “Silas Marner,” review
narration and description. Insist on the observance of principles
learned in earlier terms, but try to arouse an interest in style as a
means of increasing effectiveness. Emphasize the difference between
poetic and prose style, and the limitations of each. Note the use of
figurative language in modern prose style. Try to develop the power of
suggestiveness. Study the descriptions of place and character in “Silas
Marner” from this point of view, and try to interest the class in
attempts at imitation.
2. While studying the essay, review exposition. Insist on attention to
points learned in the Tenth Year. Carry on paragraph development, with
more emphasis on various kinds of paragraphs; as, transitional,
summarizing, introductory, and concluding.
3. Give some attention to prose style, especially if Macaulay is being
studied. Show the value of various rhetorical forms; such as the
balanced sentence, loose and periodic sentences, studiously short
sentences, climax, rhetorical questions, also the value of concrete
terms. Try to interest students in imitating various styles. Frequent
short papers, in each of which some definite point is being worked for,
will bring better results both in interest and achievement than less
frequent long ones.
Second Term.
=Special Work.=
Continued review of narration, description, and exposition, with
emphasis on style.
=Method.=
1. Make the review of the first two forms lead up to the writing of a
brief short story. Teach this at the same time the short story and novel
are being studied. Begin with writing of various settings,
introductions, descriptions of person and character, incidents
introduced for various purposes, bits of dialogue, and lead up to the
complete story.
2. While reviewing exposition, draw subjects from questions of present
interest, either local or general, and occasionally from literature
work. Reports on collateral reading may be used to teach the writing of
a simple, interesting book review, that would lead others to read.
Choose subjects here that will not lead to copying other peoples’ ideas.
Reject empty, glittering generalities.
3. Have at least one longer piece of exposition this term than has been
previously written, preferably on subject of public interest. Correct
topical outline personally before the paper is written, showing how it
may be improved.
TWELFTH YEAR.
First Term.
=Special Work.=
Argumentation with involved problem of force and tact.
=Method.=
1. Study the general nature of argument, the use of exposition in
argument, the difference between inductive and deductive reasoning, the
difference between assertion and proof, attack and refutation. Be
practical and not technical in this work. Choose subjects calculated to
stimulate thought on topics of the day; draw as largely as possible from
school life in order to demonstrate the value of the work.
2. Emphasize the value of structure here as well as in pure exposition.
3. Practice in writing of speeches, in whole or in parts; openings,
refutations, conclusions, appeals to the feelings.
4. Show the value of appropriate style.
5. Vary the special work of the term by occasional papers on topics
suggested by the literature work, provided they are of live interest and
such as to provoke discussion.
Second Term.
=Special Work.=
1. Review of the different forms of writing taught throughout the
course, to test power and to unify impressions.
2. Four longer papers than heretofore, one of each kind of discourse.
3. Briefer exercises are needed.
ORAL COMPOSITION.
Definite practice in oral composition extends throughout the entire
course. At least once every five weeks each student talks to the class
on some subject previously prepared. Increase these exercises whenever
time will permit.
=General Directions.=
1. Have students stand before the class, free from desks or other
external support.
2. Subject matter should be prepared, but not memorized. Students may
use a small card with headings, but no other notes.
3. The length of the talk may vary from two to three minutes in the
Ninth Year, to five of six in succeeding terms, as ideas and ease
increase.
4. Material should be drawn from subjects outside the literature
lessons. Let the student’s interest determine the subject. Talks may be
reproductions of newspaper or magazine articles, of parts of books, or
accounts of personal experience, but the wording must be the student’s
own.
5. Teachers should emphasize constantly the same principles or order and
arrangement of ideas as in written work. The aim is not mere talk, but
effective speech.
6. Emphasize interest of the audience as a test of success. Try to
arouse an ambition to win this. Teach the gain to a speaker from erect,
free posture of the body, ease of manner, command of the audience with
the eye, clear enunciation, pleasant voice.
7. Criticism must be sympathetic and kindly, even when corrective. Above
all try to arouse ambition to succeed and the will to persevere.
NINTH YEAR.
Anecdotes, stories read, reports on topics connected with Greek life may
all be used. The talks may be varied by readings; for instance,
selections from Stephen Phillips’ “Ulysses,” read in parts; an act of
“Antigone,” or some other Greek play; poems illustrative of the work
being studied, or similar work bearing no relation to the literature
lessons. The aim is to develop ease and self possession in standing
before the class, and interest in trying to hold an audience.
TENTH YEAR.
=Material.=
Accounts of interesting things seen or done; descriptions of famous
events, places of men; accounts of anything of current interest. Try by
the search for live material to broaden the students’ interests and to
make them more generally intelligent. This may be helped by having
suitable subjects for talks submitted every week, even although time
will not permit practice in talking that often.
ELEVENTH YEAR.
=Material.=
Continue the work of the preceding year, with greater emphasis on
subjects of present interest. Seek to encourage intelligent reading of
newspapers by reports on current events. More frequent practice may be
obtained by sometimes combining the oral composition work of the second
term with the literature work. Reports on authors and works read outside
of class, literary pilgrimages to interesting places in America,
occasional readings may all be utilized.
TWELFTH YEAR.
=Material.=
Every Monday throughout the year have reports at the beginning of the
period, (1) on events of importance of the preceding week outside of the
United States; (2) in the United States outside of California; (3) in
California, especially local events of importance. Insist on
discriminating selection and judicious condensation. Have subjects of
importance expanded into special talks. Use also throughout the year
reports on topics suggested by the literature work.
HISTORY.