TABLE OF CONTENTS

A LEAF IN THE STORM, by Louise de la Ramee, from A Leaf in the Storm and Other Stories

CATS, by Maurice Hewlett, from Earthwork out of Tuscany

AN ADVENTURE, by Honore de Balzac, from A Passion in the Desert

FOR THOSE WHO LOVE MUSIC, by Axel Munthe, from Vagaries

OUT OF DOORS, by Richard Jefferies, from Saint Guido

THE TABOO, by Herman Melville, from Typee

SCHOOL DAYS AT THE CONVENT, by George Sand, from The Story of My Life (adapted)

IN BRITTANY, by Louisa Alcott, from Aunt Jo's Scrap Bag

THE ADIRONDACKS, by John Burroughs, from Wake Robin

AN ASCENT OF KILAUEA, by Lady Brassey, from Around the World in the Yacht Sunbeam

THE FETISH, by George Eliot, from The Mill on the Floss

SALMON FISHING IN IRELAND, by James A. Froude, from A Fortnight in Kerry

ACROSS RUNNING WATER, by Fiona Macleod, from Sea Magic and Running Water

THE PINE-TREE SHILLINGS, by Nathaniel Hawthorne, from Grandfather's Chair

THE WHITE TRAIL, by Stewart Edward White, from The Silent Places

A DISSERTATION ON ROAST PIG, by Charles Lamb, from Essays of Elia

THE LAST CLASS, by Alphonse Daudet, from Monday Tales

AN ARAB FISHERMAN, by Albert Edwards, from The Barbary Coast

THE ARCHERY CONTEST, by Walter Scott, from Ivanhoe

BABY SYLVESTER, by Bret Harte, from Bret Harte's Writings

THE ADDRESS AT GETTYSBURG, by Abraham Lincoln, from Lincoln's Speeches

THE SECOND INAUGURAL ADDRESS, by Abraham Lincoln, from Lincoln's Speeches

AN APPRECIATION OF LINCOLN, by John Hay, from Life of Lincoln

THE ELEPHANTS THAT STRUCK, by Samuel White Baker, from Eight Years in Ceylon

THE LUCK OF ROARING CAMP, by Bret Harte

THE STORY OF MUHAMMAD DIN, by Rudyard Kipling, from Plain Tales from the Hills

A CHILD, by John Galsworthy, from Commentary

TOO DEAR FOR THE WHISTLE, by Benjamin Franklin, from The Autobiography

A LODGING FOR THE NIGHT, by Robert Louis Stevenson, from The New Arabian Nights

A BAD FIVE MINUTES IN THE ALPS, by Leslie Stephen, from Freethinking and Plainspeaking (adapted)

THE GOLD TRAIL, by Stewart Edward White, from Gold

TWENTY YEARS OF ARCTIC STRUGGLE, by J. Kennedy McLean, from Heroes of the Farthest North and South (adapted)

THE SPEECH IN MANCHESTER, by Henry Ward Beecher, from Addresses and Sermons

A GREEN DONKEY DRIVER, by Robert Louis Stevenson, from Travels with a Donkey

A NIGHT IN THE PINES, by Robert Louis Stevenson, from Travels with a Donkey

LIFE IN OLD NEW YORK, by Washington Irving, from Knickerbocker's History of New York

THE BAZAAR IN MOROCCO, by Pierre Loti, from Into Morocco

A BATTLE OF THE ANTS, by Henry D. Thoreau, from Walden (adapted)

AN AFRICAN PET, by Paul B. du Chaillu, from The African Forest and Jungle

ANIMAL INTELLIGENCE, by Lloyd Morgan, from Animal Sketches (adapted)

BUCK'S TRIAL OF STRENGTH, by Jack London, from The Call of the Wild

ON THE SOLANDER WHALING GROUND, by Frank Bullen, from Idylls of the Sea

AN EPISODE OF THE FRENCH REVOLUTION, by Charles Dickens, from A Tale of Two Cities

THE COMMANDER OF THE FAITHFUL, by Pierre Loti, from Into Morocco (adapted)

WALT WHITMAN, by John Burroughs, from Whitman—A Study (adapted)

HEROISM IN HOUSEKEEPING, by Jane Welsh Carlyle, from Letters

A YOUTHFUL ACTOR, by Thomas Bailey Aldrich, from The Story of a Bad Boy

WAR, by Thomas Carlyle, from Sartor Resartus

COON-HUNTING, by Ernest Ingersoll, from Wild Neighbors (adapted)

SIGHT IN SAVAGES, by W. H. Hudson, from Idle Days in Patagonia

THE VILLAGE SCHOOLMASTER, by Washington Irving, from The Sketch Book

INTRODUCTION

The testimony of librarians as to the kind of books people are reading nowadays is somewhat discouraging to the book-lover who has been brought up in the old traditions. We are told that Scott and Thackeray and George Eliot cannot compete with the year's "best sellers," and that the old classics are read only by the few who have a cultivated taste and a trained intelligence.

The interest of novelty, the dislike of mental effort, the temptation to read merely for a mild sensation,—all these undoubtedly tend to keep down the level of literary taste. To many readers of good average ability, neither the esthetic nor the purely intellectual makes a strong appeal. Even minds of fine quality often find a welcome diversion in trivial reading. In fact, to expect every one and at all times to have his mind keyed up to the higher levels is neither sincere nor reasonable. And yet, making due allowance for intellectual limitations, for the busy and distracting conditions of modern life, and for the real need of light reading at times when recreation is of more value than instruction, it would seem that a fair proportion of our reading could and should be on a higher plane.

To put it on this high plane is one of the fixed objects of the school. For this end the schools have given English an important place, have broadened the list of recommended books year by year, and have sought to improve the method of teaching literature. Especially have they hoped to create in the pupil the habit of reading good books and of discovering new material on his own initiative. Thus far their success has fallen much below their hopes, as the testimony of librarians, adduced above, plainly indicates.

There is one significant fact which both librarians and teachers have observed. The average reader, child or adult, seldom knows how or where to find things to read. He is lost in a library, whether among the book-shelves or at a card-catalogue. He is like a traveler who is ignorant of the geography of the country and cannot use the compass. And worse still, he has not the explorer's instinct. If he possessed this, he would somehow find his way himself,—a thing which occasionally happens when the reader has more than usual ability. Between the covers of those books, turning to him their uncommunicative backs, behind those labels—to him so unexpressive—there may be passages, whole chapters or more, that would give him entertainment, if he only knew!

To introduce him to an author may be to give him a new friend. Introductions need not imply long and intimate companionship. This author may hold him for half an hour, and never again; that one may claim his attention for a day; and another may come to rank as one of his old friends. In each case the acquaintance may depend upon the fact of an introduction, and not upon the reader's own initiative in discovery. More than the acquaintances thus made, is the sense of at-homeness among books which they gradually bring about. We all know that feeling of the unreality of a book of which we have merely heard the title, and how soon we forget it. A book that we have seen and handled, however, and especially one which we have read or from which we have seen a passage quoted in another volume, is somehow real,—an entity. Through continued experiences of this sort we come to feel really acquainted with books, to know where to find the things we are looking for, to judge and appreciate,—in brief, to feel at home among them.

It is as a series of such introductions to the larger world of literature that this volume has been compiled. Some of the selections are from books whose titles are already familiar to high school students; many others are from sources that few pupils will know. All of them, it is confidently believed, are within the interest and comprehension of boys and girls of high school age. The notes and questions at the end of each selection will, it is hoped, be of some help to the students in getting at the author's meaning, and in suggesting interesting topics for discussion. If, after finishing the Short Stories and Selections, a few more students will have formed the habit of good reading and will feel, not merely willing, but eager, to enlarge their acquaintance among good books, this volume has accomplished its purpose.

EMILIE K. BAKER

A LEAF IN THE STORM

Bernadou clung to his home with a dogged devotion. He would not go from it to fight unless compelled, but for it he would have fought like a lion. His love for his country was only an indefinite shadowy existence that was not clear to him; he could not save a land that he had never seen, a capital that was only to him as an empty name; nor could he comprehend the danger that his nation ran; nor could he desire to go forth and spend his lifeblood in defence of things unknown to him. He was only a peasant, and he could not read nor greatly understand. But affection for his birthplace was a passion with him,—mute indeed, but deep-seated as an oak. For his birthplace he would have struggled as a man can struggle only when supreme love as well as duty nerves his arm. Neither he nor Reine Allix could see that a man's duty might lie from home, but in that home both were alike ready to dare anything and to suffer everything. It was a narrow form of patriotism, yet it had nobleness, endurance, and patience in it; in song it has been oftentimes

deified as heroism, but in modern warfare it is punished as the blackest crime.

So Bernadou tarried in his cottage till he should be called, keeping watch by night over the safety of his village and by day doing all he could to aid the deserted wives and mothers of the place by tilling their ground for them and by tending such poor cattle as were left in their desolate fields. He and Margot and Reine Allix, between them, fed many mouths that would otherwise have been closed in death by famine, and denied themselves all except the barest and most meagre subsistence, that they might give away the little they possessed.

And all this while the war went on, but seemed far from them, so seldom did any tidings of it pierce the seclusion in which they dwelt. By and by, as the autumn went on, they learned a little more. Fugitives coming to the smithy for a horse's shoe; women fleeing to their old village homes from their light, gay life in the city; mandates from the government of defence sent to every hamlet in the country; stray news-sheets brought in by carriers or hawkers and hucksters,—all these by degrees told them of the peril of their country,—vaguely, indeed, and seldom truthfully, but so that by mutilated rumors they came at last to know the awful facts of the fate of Sedan, the fall of the Empire, the siege of Paris. It did not alter their daily lives: it was still too far off and too impalpable. But a foreboding, a dread, an unspeakable woe settled down on them. Already their lands and cattle had been harassed to yield provision for the army and large towns; already their best horses had been taken for the siege-trains and the forage-wagons;

already their ploughshares were perforce idle, and their children cried because of the scarcity of nourishment; already the iron of war had entered into their souls.

The little street at evening was mournful and very silent: the few who talked spoke in whispers, lest a spy should hear them, and the young ones had no strength to play: they wanted food.

Bernadou, now that all means of defence was gone from him, and the only thing left to him to deal with was his own life, had become quiet and silent and passionless, as was his habit. He would have fought like a mastiff for his home, but this they had forbidden him to do, and he was passive and without hope. He closed his door, and sat down with his hand in that of Reine Allix and his arm around his wife. "There is nothing to do but wait" he said sadly. The day seemed very long in coming.

The firing (which had come nearer each day) ceased for a while; then its roll commenced afresh, and grew still nearer to the village. Then again all was still.

At noon a shepherd staggered into the place, pale, bleeding, bruised, covered with mire. The Prussians, he told them, had forced him to be their guide, had knotted him tight to a trooper's saddle, and had dragged him with them until he was half dead with fatigue and pain. At night he had broken from them and had fled: they were close at hand, he said, and had burned the town from end to end because a man had fired at them from a house-top. That was all he knew. Bernadou, who had gone out to hear his news, returned into the house and sat down and hid his face within his hands.

It grew dark. The autumn day died. The sullen clouds dropped scattered rain. The red leaves were blown in millions by the wind. The little houses on either side the road were dark, for the dwellers in them dared not show any light that might be a star to allure to them the footsteps of their foes. Bernadou sat with his arms on the table, and his head resting on them. Margot nursed her son: Reine Allix prayed.

Suddenly in the street without there was the sound of many feet of horses and of men, the shouting of angry voices, the splashing of quick steps in the watery ways, the screams of women, the flash of steel through the gloom. Bernadou sprang to his feet, his face pale, his blue eyes dark as night. "They are come!" he said under his breath. It was not fear that he felt, nor horror: it was rather a passion of love for his birthplace and his nation,—a passion of longing to struggle and to die for both. And he had no weapon!

He drew his house-door open with a steady hand, and stood on his own threshold and faced these, his enemies. The street was full of them,—some mounted, some on foots crowds of them swarmed in the woods on the roads. They had settled on the village as vultures on a dead lamb's body. It was a little, lowly place: it might well have been left in peace. It had had no more share in the war than a child still unborn, but it came in the victor's way, and his mailed heel crushed it as he passed. They had heard that arms were hidden and francs-tireurs sheltered there, and they had swooped down on it and held it hard and fast. Some were told off to search the chapel; some to ransack the dwellings; some to seize such food and bring such cattle as there might be left; some to seek out the devious paths that crossed and recrossed the field; and yet there still remained in the little street hundreds of armed men, force enough to awe a citadel or storm a breach.

The people did not attempt to resist. They stood passive, dry-eyed in misery, looking on whilst the little treasures of their household lives were swept away forever, and ignorant what fate by fire or iron might be their portion ere the night was done. They saw the corn that was their winter store to save their offspring from famine poured out like ditch-water. They saw oats and wheat flung down to be trodden into a slough of mud and filth. They saw the walnut presses in their kitchens broken open, and their old heirlooms of silver, centuries old, borne away as booty. They saw the oak cupboard in their wives' bedchambers ransacked, and the homespun linen and the quaint bits of plate that had formed their nuptial dowers cast aside in derision or trampled into a battered heap. They saw the pet lamb of their infants, the silver earrings of their brides, the brave tankards they had drunk their marriage wine in, the tame bird that flew to their whistle, all seized for food or spoil. They saw all this, and had to stand by with mute

tongues and passive hands, lest any glance of wrath or gesture of revenge should bring the leaden bullets in their children's throats or the yellow flame amidst their homesteads. Greater agony the world cannot hold.

—LOUISE DE LA RAMEE (Ouida).

[Footnote: This extract is taken from a story by the same title. The chief characters are the peasant Bernadou, his wife Margot, and his old grandmother Reine Allix. The scene is laid during the Franco-Prussian War of 1870. The great defeat of the French at Sedan, and the surrender of Paris from starvation after a long siege brought the war to an end. The victorious Prussians took from France an indemnity of five billion francs ($1,000,000,000), and two of their richest provinces, Alsace and Lorraine.

What words in the first sentence show that it is not the beginning of the story? Note the repeated use of antithesis (contrast) in the first paragraph. By what details do you learn the state of the country? How did the war affect even the people remote from the battlefields? How are the terror and suffering of the people indicated? Notice the effectiveness of the author's use of details. Have you read any prose or poetry in which war is made to seem glorious? How does it seem here? Does the author make the scene of the arrival of the Prussians vivid? How is this done? Note the dramatic contrast between the arrival of the Prussians and the actions of the peasants. How has the author drawn the character of Bernadou? By what details does the author give special poignancy to the pathos of her account? What is the significance of the title "A Leaf in the Storm"?]

CATS

There was once a man in Italy—so the story runs—who said that animals were sacred because God had made them. People didn't believe him for a long time; they came, you see, of a race which had found it amusing to kill such things, and killed a great many of them too, until it struck them one fine day that killing men was better sport still, and watching men kill each other the best sport of all because it was the least trouble. Animals said they, why, how can they be sacred; things that you call beef and mutton when they have left off being oxen and sheep, and sell for so much a pound? They scoffed at this mad neighbour, looked at each other waggishly and shrugged their shoulders as he passed along the street. Well! then, all of a sudden, as you may say, one morning he walked into the town—Gubbio it was—with a wolf pacing at his heels—a certain wolf which had been the terror of the country-side and eaten I don't know how many children and goats. He walked up the main street till he got to the open Piazza in front of the great church. And the

long grey wolf padded beside him with a limp tongue lolling out between the ragged palings which stood him for teeth. In the middle of the Piazza was a fountain, and above the fountain a tall stone crucifix. Our friend mounted the steps of the cross in the alert way he had (like a little bird, the story says) and the wolf, after lapping apologetically in the basin, followed him up three steps at a time. Then with one arm around the shaft to steady himself, he made a fine sermon to the neighbours crowding in the Square, and the wolf stood with his fore-paws on the edge of the fountain and helped him. The sermon was all about wolves (naturally) and the best way of treating them. I fancy the people came to agree with it in time; anyhow when the man died they made a saint of him and built three churches, one over another, to contain his body. And I believe it is entirely his fault that there are a hundred-and-three cats in the convent-garden of San Lorenzo in Florence. For what are you to do? Animals are sacred, says Saint Francis. Animals

are sacred, but cats have kittens; and so it comes about that the people who agree with Saint Francis have to suffer for the people who don't.

The Canons of San Lorenzo agree with Saint Francis, and it seems to me that they must suffer a good deal. The convent is large; it has a great mildewed cloister with a covered-in walk all around it built on arches. In the middle is a green garth [Footnote: Garth: an inclosure, a yard.] with cypresses and yews dotted about; and when you look up you see the blue sky cut square, and the hot tiles of a huge dome staring up into it. Round the cloister walk are discreet brown doors, and by the side of each door a brass plate tells you the name and titles of the Canon who lives behind it. It is on the principle of Dean's yard at Westminster; only here there are more Canons—and more cats.