The World's Best Books : A Key to the Treasures of Literature
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Title: The World's Best Books : A Key to the Treasures of Literature
Author: Frank Parsons
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THE WORLD'S BEST BOOKS
A KEY TO THE TREASURES OF LITERATURE
BY
FRANK PARSONS
THIRD EDITION
REVISED AND ENLARGED
BOSTON
LITTLE, BROWN, AND COMPANY
1893
_Copyright, 1889, 1891, 1893,_
BY FRANK PARSONS.
UNIVERSITY PRESS:
JOHN WILSON AND SON, CAMBRIDGE, U.S.A.
PREFACE TO THE THIRD EDITION.
At the request of the publishers the following statement is made as a
substitute for the former indefinite arrangement in respect to
authorship.
The plan and composition of the book were mine; the work of my
colleagues, F. E. Crawford and H. T. Richardson, consisting of
criticism, verifications, and assistance in gathering materials for the
appendix,--services of great value to me, and of which I wish to express
my high appreciation.
A few additions have been made in this edition, and the book has been
carefully revised throughout.
FRANK PARSONS.
BOSTON, January, 1893.
PREFACE TO THE SECOND EDITION.
The public and the critics have met us with a welcome far more cordial
than we had dared to expect, though not more so, of course, than we
hoped for. When did a thing such as that ever happen? We are glad to
discover that in forming our expectations we underrated their
discernment, or our own merit (probably not the latter, judging by the
remarks of two or three of our critics), and in real earnest we are
grateful for their high appreciation of our work.
Some few--a very few--have found fault with us, and our thanks are due
to them also; for honest, kindly, intelligent criticism is one of the
most powerful means of growth. The fact that this little volume is not
intended as an _infallible_ guide, or as anything more than a _stimulus_
to seek the best, and a _suggestion_ of the method of guiding one's self
and one's children, has been missed by some, though it appears
distinctly in various places through the book, and is involved in what
we deem the most useful part of our work,--the remarks following Table
V., wherein we endeavor to show the student how he may learn to estimate
the value of a book for himself. So far were we from wishing to _decide_
matters which manifestly vary with the wants and capacities of each
individual, that we emphatically advised the reader not to accept the
opinions of any one as final, but to form his own judgments.
Some have failed to perceive that, _in ranking the books, we have
considered, not merely their intrinsic merit, but also the needs and
abilities of the average English reader_, making a compound test by
which to judge, not the relative greatness of the books simply, but
their relative claims on the attention of the ordinary reader. This also
was set forth, as we thought, quite distinctly, and was in fact
understood by nearly every one, but not by all, for some have objected
to the order of the books in Table I., affirming, for example, that the
"Federalist" and Bryce's "American Commonwealth" are far _superior_ to
"Our Country," and should be placed above it. That would be true if
intrinsic greatness alone decided the matter. But the average reader
with his needs and abilities is a factor in the problem, as well as the
book with its subject and style. Now, the ordinary reader's time and his
mental power are both limited. "Our Country" is briefer and simpler than
the others, and its contents are of vital interest to every American, of
even more vital interest than the discussions of the "Federalist" or
Bryce; and so, although as a work of art it is inferior to these, it
must rank above them in this book, because of its superior claims upon
the attention of the average reader. In a similar manner other questions
of precedence are determined on the principles contained in the remarks
on Table V. It is not pretended, however, that the arrangement is
perfect even in respect to our own tests, especially among the authors
on the second shelf of Table I. The difficulties of making a true list
may be illustrated by the fact that one critic of much ability affirms
that Marietta Holley ought to head the tenth column, as the best
humorist of all time; another says it is absurd to place her above the
Roman wits Juvenal and Lucian; and a third declares with equal
positiveness that she ought not to appear in the list at all. We differ
from them all, and think the high place we have given Miss Holley is
very near the truth.
Communications have been received from Oliver Wendell Holmes, Marietta
Holley, Senator Hoar, Phillips Brooks, Bishop J. H. Vincent, Brooke
Herford, Francis Parkman, ex-Gov. John D. Long, Gen. Benj. F. Butler, T.
W. Higginson, and many other eminent persons, bringing to us a number of
suggestions, most of which we have adopted to the great advantage of our
book, as we hope and believe.
We have added a number of valuable works to the lists of the first
edition, and have written a new chapter on the guidance of children, the
means of training them to good habits of reading, and the books best
adapted to boys and girls of various ages.
If any one, on noting some of the changes that have been made in this
edition, feels inclined to raise the cry of inconsistency, we ask him to
remember the declaration of Wendell Phillips, that "Inconsistency is
Progress." There is room for still further inconsistency, we do not
doubt; and criticism or suggestion will be gladly received.
FRANK PARSONS.
BOSTON, January, 1891.
CONTENTS.
INTRODUCTORY REMARKS.
Purposes of the book briefly stated
System in reading
Purposes of reading
Its influence on health and mind
on character
on beauty and accomplishments
Its pleasures
Quantity and quality of reading
Selection of books
Order of reading
Method of reading
Importance of owning the books you read
Effect of bad books
useless books
good books
ABBREVIATIONS USED IN THIS WORK
NOTE OF EXPLANATION
THE FIRST TWO SHELVES OF THE WORLD'S LIBRARY
(TABLE.)
REMARKS ON TABLE I.
Religion and Morals
Poetry and the Drama
Science
Biography
History
Philosophy
Essays
Fiction
Oratory
Wit and Humor
Fables and Fairy Tales
Travel
Guides
Miscellaneous
GLIMPSES OF THE GREAT FIELDS OF THOUGHT,
Arranged for the purpose of securing breadth of
mind (Table II.)
A SERIES OF BRIEF BUT VERY CHOICE SELECTIONS
from general literature, constituting a year's
course for the formation of a true literary taste
(Table III.)
Groups I. and II., Poetry
Group III., Prose
Group IV., Wit and Humor
A SHORT COURSE SUPPLEMENTARY TO THE LAST
(Table IV.)
WHAT TO GIVE THE CHILDREN
SPECIAL STUDIES
THE DISTRIBUTION OF THE WORLD'S GREAT AUTHORS
in time and space, with a parallel column of contemporaneous
noted historic events (Table V.)
REMARKS ON TABLE V.
Definitions and divisions
Eight tests for the choice of books
Intrinsic merit
Periods of English Literature
The Pre-Shakspearian age
The Shakspearian age
The Post-Shakspearian age
Time of Milton
Dryden
Pope
The novelists, historians, and scientists
The greatest names of other literatures:--
Greece, Rome, Italy, France, Spain, Germany,
Persia, Portugal, Denmark, Russia
The fountains of national literatures:--
Homer, Nibelungenlied, Cid, Chansons, Morte
D'Arthur, etc.
APPENDIX I.
THE BEST THOUGHTS OF GREAT MEN ABOUT
BOOKS AND READING
APPENDIX II.
BOOKS USED IN THE BOSTON PUBLIC SCHOOLS
AS SUPPLEMENTARY READING, TEXT-BOOKS,
etc.
THE WORLD'S BEST BOOKS.
INTRODUCTORY REMARKS.
This book is the result of much reading and thought, teaching,
lecturing, and conversation, in the direction of its subject-matter. Its
purpose is fivefold: _First_, to call attention to the importance of
reading the best literature to the exclusion of all that is inferior, by
setting forth the benefits that may be derived from the former and the
injuries that are sure to result from the latter. _Second_, to select
the best things from all the literatures of the world; to make a survey
of the whole field of literature and locate the mines most worthy of our
effort, where with the smallest amount of digging we may find the
richest ore; and to do this with far greater precision, definiteness,
and detail than it has ever been done before. _Third_, to place the
great names of the world's literature in their proper relations
of time and space to each other and to the great events of
history,--accompanying the picture with a few remarks about the several
periods of English Literature and the Golden Age of literature in each
of the great nations. _Fourth_, to discuss briefly the best methods of
reading, and the importance of system, quantity, quality, due
proportion, and thoroughness in reading, and of the ownership of books
and the order in which they should be read. _Fifth_, to gather into a
shining group, like a constellation of stars, the splendid thoughts of
the greatest men upon these subjects.
The book is meant to be a practical handbook of universal literature for
the use of students, business men, teachers, and any other persons who
direct the reading of others, and for the guidance of scholars in
departments other than their own.
1. =System= in reading is of as much importance as it is in the business
of a bank or any other mercantile pursuit.
2. =The Purposes of Reading= should ever be kept in mind. They are
the purposes of life; namely, health, mental power, character, beauty,
accomplishments, pleasure, and the knowledge which will be of use in
relation to our business, domestic life, and citizenship. Literature can
aid the _health_, indirectly, by imparting a knowledge of the means of
its attainment and preservation (as in works on physiology and hygiene);
and directly, by supplying that exercise of the mind which is essential
to the balance of the functions necessary to perfect health. A study of
literature will develop the _mind_--the perception, memory, reason
(especially true of science and philosophy), and the imagination
(especially the study of poetry and science)--directly, by exercising
those all-important faculties; and indirectly, by yielding a knowledge
of the conditions of their existence and strength. On the other hand,
the mind may be greatly injured, if not wholly destroyed, by pouring
into it a flood of filth and nonsense; or by a torrent of even the best
in literature, so rapid and long continued that it cannot be properly
absorbed and digested. The evil effects of cramming the mind are only
too often seen about us.
Literature can build or destroy the _character_ both directly and
indirectly. Poetry, religion, philosophy, fiction, biography,
history,--indeed, all sorts of writings in some degree make us more
sympathetic, loving, tender, noble, generous, kind, and just, or the
opposite, by the simple power of exercise, if for no other reason. If we
freely exercise the muscles of the arm, we shall have more vigor there.
If we continually love, our power and tendency to love will grow. The
poet's passion, passing the gates of the eye and ear into our souls,
rouses our sympathies to kindred states of feeling. We love when he
loves, and weep when he weeps; and all the while he is moulding our
characters, taking from or adding to the very substance of our souls.
Brave words change the coward to a hero; a coward's cry chills the
bravest heart. A boy who reads of crime and bravery sadly mixed by some
foul traitor to the race, soon thinks that to be brave and grand he must
be coarse and have the blood of villainy and rashness pulsing from his
misled heart. Not all the books that picture vice are harmful. If they
show it in its truth, they drive us from it by its very loathsomeness;
but if they gild it and plume it with pleasure and power, beware.
Literature, too, can give us a knowledge of the means for the
development of character, and the inspiration to make the best use of
these means. Books of morals, religion, biography, science, poetry, and
fiction especially hold these treasures.
In the attainment and enrichment of _beauty_, literature has a work to
do. The choicest beauty is the loveliness of soul that lights the eye
and prints its virtue in the face; and as our reading moulds the mind
and heart to beauty, their servants at the doorways ever bend to their
instructions and put on the livery of their lords. Even that beauty
which is of the rounded form, the soft cheek's blooming tinge, the rosy
mouth, and pearly lip, owes its debt to health; and that, as has been
seen, may profit much by literature. And beyond all this we learn the
means of great improvement in our comeliness,--how crooked may be
changed to straight, and hollow cheeks to oval; frowns to smiles, and
lean or gross to plump; ill-fitting, ill-adapted dress to beautiful
attire; a shambling gait to a well-conducted walk,--and even the stupid
stare of ignorance be turned to angel glances of indwelling power and
interested comprehension.
_Accomplishments_, too, find help in written works of genius, not merely
as affording a record of the best methods of acquiring any given art,
but directly as supplying the substance of some of the greatest of all
accomplishments,--those of inspiring eloquent conversation, and of
writing clear and beautiful English.
_Pleasure_ manifestly is, by all these aids to beauty, health, and
power, much beholden to the books we read; but more than this, the very
reading of a worthy book is a delicious joy, and one that does not drain
but fills the fount from which the happiness of others comes. Plato,
Fenelon, Gibbon, and a host of others name the love of books the
chiefest charm and glory of their lives.
3. =The Quantity and Quality= of what we read should have our careful
thought. Whoever lives on literary husks and intoxicants, when corn and
wheat and milk are just as easily within his reach, is certainly no
wiser than one who treats his physical receptacle in the same way, and
will as surely suffer from ill feeding in diminished vital force.
Indeed, he may be glad if he escapes acquiring intellectual dyspepsia or
spiritual delirium tremens. Even of the best of reading there may be too
much as well as not enough. More than we can assimilate is waste of time
and energy. Besides the regulation of the _total_ quantity we read, with
reference to our powers of digestion, we must watch the _relative_
amounts of all the various kinds of literary sustenance we take. A due
proportion ought to be maintained by careful mixture of religious,
scientific, poetic, philosophic, humorous, and other reading. A man who
exercises but one small muscle all his days would violate the laws of
health and power. The greatest mind is that which comes the nearest to
attainment of a present perfect picture in the mind of all the universe,
past, present, and to come. The greatest character is that which gets
the greatest happiness for self through fullest and most powerful
activities for others, and requires for its own work, existence, and
delight, the least subtraction from the world's resources of enjoyment.
The greatest man is he who combines in due proportion and completest
harmony the fullest physical, emotional, and intellectual life.
4. =The Selection= of books is of the utmost importance, in view of
their influence upon character. All the reasons for care that apply to
the choice of friends among the living, have equal force in reference to
the dead. The same tests avail in one case as in the other,--reputation
and personal observation of the words and deeds of those we think to
make companions. We may at will and at slight cost have all the great
and noble for our intimate friends and daily guests, who will come when
we call, answer the questions we put, and go when we wish. And better
yet, however long we talk to them, no other friends will be kept waiting
in the anterooms, longing to take our place. Our most engrossing
friendship, though we keep them _always_ with us, will produce no
interference with their equal friendship with all the world besides. We
may associate with angels and become angelic, or with demons and become
satanic.
Besides the difference in the nature of books, the very number of them
commands a choice. In one library there are three million volumes; in
the Boston Public Library about three hundred thousand, or five hundred
thousand including pamphlets. In your short life you can read but a
trifling part of the world's literature. Suppose you are fortunate
enough to be able to read one book a week, in thirty years you would
read but fifteen hundred books. Use, then, every care to get the best.
If it were in your equal choice to go to one of two reputed
entertainments and but one, it surely would be worth your while to know
their character before selecting. One might be Beethoven's loveliest
symphony, the other but a minstrel show.
5. =The Order of our Reading= must be carefully attended to. The very
best books are not always to be first read. If the reader is young or of
little culture, the _simplicity_ of the writing must be taken into
account, for it is of no use to read a book that cannot be understood.
One of mature and cultivated mind who begins a course of systematic
reading may follow the order of absolute value; but a child must be
supplied with easy books in each department, and, as his powers develop,
with works of increasing difficulty, until he is able to grasp the most
complex and abstruse. If you take up a book that is recommended to you
as one of the world's best, and find it uninteresting, be sure the
trouble is in you. Do not reject it utterly, do not tell people you do
not like it; wait a few months or years, then try it again, and it may
become to you one of the most precious of books.
6. =The Method= of your reading is an important factor in determining
its value to you. It is in proportion to your _conquest_ of what is
worthy in literature that you gain. If you pour it into your mind so
fast that each succeeding wave forces the former out before its form and
color have been fixed, you are not better off, but rather worse, because
the process washes out the power of memory. Memory depends on health,
attention, repetition, reflection, association of ideas, and practice.
Some books should be very carefully read, looking to both thought and
form; the best passages should be marked and marginal notes made;
reflection should digest the best ideas, until they become a part of the
tissue of your own thought; and the most beautiful and striking
expressions should be verbally committed. If you saw a diamond in the
sand, surely you would fix it where it might adorn your person. If you
find a sparkling jewel in your reading, fix it in your heart and let it
beautify your conversation. Shakspeare, Milton, Homer, Bacon, AEschylus,
and Emerson, and nearly all the selections in Table III. should be read
in this way. Other books have value principally by reason of the line of
thought or argument of which the whole book is an expression; such for
the most part are books of history, science, and philosophy. While
reading them marks or notes should be made; so that when the book is
finished, the steps of thought may several times be rapidly retraced,
until the force and meaning of the book becomes your own forever. Still
other books may be simply glanced through, it being sufficient for the
purposes of the general reader to have an idea of the nature of their
contents, so that he may know what he can find in them if he has need.
Such books to us are the Koran, the works of the lesser essayists,
orators, and philosophers. Ruskin says that no book should be read fast;
but it would be as sensible to say that we should never walk or ride
fast over a comparatively uninteresting country. Adaptation of method to
the work in hand is the true rule. We should not read "Robert Elsmere"
as slowly and carefully as Shakspeare. As the importance of the book
diminishes, the speed of our journey through it ought to increase.
Otherwise we give an inferior book equal attention with its superiors.
7. =Own the Books you Read,= if possible, so that you may mark them and
often refer to them. If you are able, buy the best editions, with the
fullest notes and finest binding,--the more beautiful, the better. A
lovely frame adds beauty to the picture. If you cannot buy the
best-dressed books, get those of modest form and good large type. If
pennies must be counted, get the catalogues of all the cheap libraries
that are multiplying so rapidly of late,--the Elzevir, Bohn, Morley,
Camelot, National, Cassel, Irving, Chandos, People's Library, World's
Library, etc.,--and own the books you learn to love. Use the public
libraries for reference, but do not rely on them for the standard
literature you read. It is better far to have an eight cent Bunyan,
twelve cent Bacon, or seven cent Hamlet within your reach from day to
day, and marked to suit yourself, than to read such books from the
library and have to take them back. That is giving up the rich
companionship of new-found friends as soon as gained. The difference
between talking with a sage or poet for a few brief moments once in your
lifetime, and having him daily with you as your friend and teacher is
the difference between the vales and summits of this life. The immense
importance of possessing the best books for your own cannot be too
strongly impressed upon you, nor the value of clothing your noble
friends as richly as you can. If they come to you with outward beauty,
they will claim more easily their proper share of your attention and
regard. Get an Elzevir Shakspeare if you can afford no other, but
purchase the splendid edition by Richard Grant White, if you can. Even
if you have to save on drink and smoke and pie-crust for the purpose,
you never will regret the barter.
8. =Bad Books= corrupt us as bad people do. Whenever they are made
companions, insensibly we learn to think and feel and talk and act as
they do in degree proportioned to the closeness that we hug them to our
hearts. Books may be bad, not only by imparting evil thoughts, awakening
lust and gilding vice, but by developing a false philosophy, ignoble
views of life, or errors in whatever parts of science or religion they
may touch. Avoid foul books as you would shun foul men, for fear you may
be like them; but seek the errors out and conquer them. Spend little
time in following a teacher you have tested and found false, but do the
testing for yourselves, and take no other person's judgment as to what
is truth or error. Truth is always growing; you may be the first to
catch the morning light. The friend who warns you of some book's untruth
may be himself in error, led by training, custom, or tradition, or
unclearly seeing in the darkness of his prejudice.
9. =Useless Books=. Many books that are not positively bad are yet mere
waste of time. A wise man will not spend the capital of his life, or
part with the wealth of his energies except he gets a fair equivalent.
He will demand the highest market price for his time, and will not give
his hours and moments--precious pieces of his life--for trash, when he
can buy with them the richest treasures of three thousand years of
thought. You have not time to drink the whole of human life from out the
many colored bottles of our literature; will you take the rich cream, or
cast that aside for the skimmed milk below, or turn it all out on the
pathway and swallow the dirt and the dregs in the bottom?
10. =Good Books=.--=A Short Sermon=.--If you are a scholar, professor or
lawyer, doctor or clergyman, do not stay locked in the narrow prison of
your own department, but go out into the world of thought and breathe
the air that comes from all the quarters of the globe. Read other books
than those that deal with your profession,--poetry, philosophy, and
travel. Get out of the valleys up on to the ridges, where you can see
what relation your home bears to the rest of the world. Go stand in the
clamor of tongues, that you may learn that the truth is broader than any
man's conception of it and become tolerant. Look at the standards that
other men use, and correct your own by them. Learn what other thinkers
and workers are doing, that you may appreciate them and aid them. Learn
the Past, that you may know the Future. Do not look out upon the world
through one small window; open all the doorways of your soul, let all
genius and beauty come in, that your life may be bright with their
glory.
If you are a busy merchant, artisan, or laborer, you too can give a
little time each day to books that are the best. If Plato, Homer,
Shakspeare, Tennyson, or Milton came to town to-day, you would not let
the busiest hour prevent your catching sight of him; you would stand a
half day on the street in the sun or the snow to catch but a glimpse of
the famous form; but how much better to receive his spirit in the heart
than only get his image on the eye! His choicest thought is yours for
the asking.
If you are a thoughtless boy or silly girl, trying the arts that win the
matrimonial prize, remember that there are no wings that fly so high as
those of sense and thought and inward beauty. Remember the old song that
ends,--
"Beauty vanish, wealth depart,
Wit has won the lady's heart."
Even as a preparation for a noble and successful courtship, the best
literature is an absolute necessity. Perhaps you cannot travel:
Humboldt, Cook, and Darwin, Livingstone, and Stanley will tell you more
than you could see if you should go where they have travelled. Perhaps
you cannot have the finest teachers in the studies you pursue: what a
splendid education one could get if he could learn philosophy with
Plato, Kant, and Spencer; astronomy with Galileo, Herschel, and Laplace;
mathematics with Newton or Leibniz; natural history with Cuvier or
Agassiz; botany with Gray; geology with Lyell or Dawson; history with
Bancroft; and poetry with Shakspeare, Milton, Dante, and Homer! Well,
those very teachers at their best are yours if you will read their
books. Each life is a mixture of white and black, no one is perfect; but
every worthy passage and ennobling thought you read adds to the white
and crowds out the black; and of what enormous import a few brief
moments daily spent with noble books may be, appears when we remember
that each act brings after it an infinite series of consequences. It is
an awe-inspiring truth to me that with the color of my thought I tinge
the stream of life to its remotest hour; that some poor brother far out
on the ocean of the future, struggling to breast the billows of
temptation, may by my hand be pulled beneath the waves, ruined by the
influences I put in action now; that, standing here, I make the depths
of all eternities to follow tremble to the music of my life: as Tennyson
has put it so beautifully in his "Bugle Song,"--
"Blow, let us hear the purple glens replying:
Blow, bugle; answer, echoes, dying, dying, dying.
"O love, they die in yon rich sky,
They faint on hill or field or river:
_Our echoes roll from soul to soul_,
_And grow for ever and for ever_."
How careful we should be of every moment if we had imaginative power
enough to fully realize the meaning of the truth that slightly differing
actions now may build results at last as wide apart as poles of opposite
eternities! Even idleness, the negative of goodness, would have no
welcome at our door. Some persons dream away two thirds of life, and
deem quiescence joy; but that is certainly a sad mistake. The nearer to
complete inaction we attain, the nearer we are clay and stone; the more
activity we gain, that does not draw from future power, the higher up
the cliffs of life we climb, and nearer to celestial life that never
sleeps. Let no hour go idly by that can be rendered rich and happy with
a glorious bit of Shakspeare, Dante, or Carlyle. Let us never be deluded
with the praise of peace, excepting that of heart and conscience clear
of all remorse. It is ambition that has climbed the heights, and will
through all the future. Give me not the dead and hopeless calm of
indolent contentment, but far rather the storm and the battle of life,
with the star of my hopes above me. Let me sail the central flow of the
stream, and travel the tides at the river's heart. I do not wish to stay
in any shady nook of quiet water, where the river's rushing current
never comes, and straws and bubbles lie at rest or slowly eddying round
and round at anchor in their mimic harbor. How often are we all like
these imprisoned straws, revolving listlessly within the narrow circle
of the daily duties of our lives, gaining no new truth, nor deeper love
or power or tenderness or joy, while all the world around is sweeping to
the sea! How often do we let the days and moments, with their wealth of
life, fly past us with their treasure! Youth lies in her loveliness,
dreaming in her drifting boat, and wakes to find her necklace has in
some way come unfast, and from the loosened ribbon trailing o'er the
rail the lustrous pearls have one by one been slipping far beyond her
reach in those deep waters over which her slumbers passed. Do not let
the pearls be lost. Do not let the moments pass you till they yield
their wealth and add their beauty to your lives.
11. =Abbreviations=.--
R. means, Read carefully.
D. means, Digest the best passages; make the thought and
feeling your own.
C. means, Commit passages in which valuable thought or feeling
is _exquisitely expressed_.
G. means, Grasp the idea of the whole book; that is, the train
of the author's thought, his conclusions, and the reasons for
them.
S. means, Swallow; that is, read as fast as you choose, it not
being worth while to do more than get a general impression of
the book.
T. means, Taste; that is, skip here and there, just to get an
idea of the book, and see if you wish to read more.
e. means _easy_; that is, of such character as to be within the
easy comprehension of one having no more than a grammar-school
education or its equivalent; and it applies to all books that
can be understood without either close attention or more than
an ordinary New England grammar-school training.
m. means _medium_; that is, of such character as to require the
close attention called "study," or a high-school education, or
both; and it applies to books the degree of whose difficulty
places them above the class e. and below the class _d_.
d. means _difficult_; that is, beyond the comprehension of an
ordinary person having only a New England high-school education
or its equivalent, even with close study, unless the reader
already has a fair understanding of the _subject_ of the book.
In order to read with advantage books that are marked _d._, the
mind should be prepared by special reading of simpler books in
the same department of thought.
TABLE I.
NOTE OF EXPLANATION.
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| Transcriber's note: The original format of the table exceeded |
| the width requirements for e-text. Therefore the table was |
| reformatted. It is now from top to bottom in the order of |
| importance. The first shelf and second shelf are arranged |
| side by side. |
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TABLE I. contains a list of authors whose books, on principle and
authority, have the strongest claims on the attention of the average
reader of English. They are arranged from left to right in the order of
importance of the divisions of the subject matter regarded as wholes,
and from above downward in the order of their value in relation to the
highest standard in their own department. The _numbers_ have nothing to
do with the ranking, but refer to notes that will be found on the pages
following the table. There is also, at the head of the notes relating to
each column of the table, a special note on the subject matter of that
column.
The upper part of the table represents the first shelf of the world's
library, and contains the books having the very strongest claims upon
the attention of all,--books with which every one should endeavor to
gain an acquaintance, at least _to the extent_ indicated in the notes.
The lower part of the table represents the second shelf of the world's
library, and contains books which in addition to those of the first
shelf should enter into a liberal education.
It must be always kept in mind that intrinsic merit alone does not
decide the position of a book in this table; for in order to test the
claim of a book upon the attention of a reader we have to consider not
only the artistic value of the author's work, and its subject matter,
but also the needs and abilities of the reader. Thus it happens that it
is not always the work of the greatest genius which stands highest in
the list. Moreover, no claim is made that the ranking is perfect,
especially on the second shelf. The table is an example of the
application of the principles set forth in the remarks following Table
V., to the case of the general reader. For every one above or below the
average reader the lists would have to be changed, and even the average
list has no quality of the absolute. It is but a suggestion,--a
suggestion, however, in which we have a good deal of confidence, one
that is based on a very wide induction,--and we have no hesitation in
affirming that the upper shelf represents the best literature the world
affords.
In addition to Table I., there will be found in Tables III. and IV., and
in the remarks upon the Guidance of Children following Table IV., a
number of pieces of literary work of the very highest merit and value.
Some of the most important are Lowell's "Vision of Sir Launfal," one of
the very finest American poems; Browning's "Ivan Ivanovitch;" Guyot's
"Earth and Man;" Mary Treat's "Home Book of Nature;" Burroughs'
"Pepacton," "Signs and Seasons," "Wake Robin," etc.; Buckley's "Fairy
Land of Science," etc.; Ragozin's "Chaldea;" Fenelon's "Lives of the
Philosophers;" Bolton's "Poor Boys who became Famous;" Rives' "Story of
Arnon;" Drake's "Culprit Fay;" Dr. Brown's "Rab and his Friends;" Mary
Mapes Dodge's "Hans Brinker;" Andrews' "Ten Boys on the Road;" Arnold's
"Sweetness and Light;" Higginson's "Vacations for Saints;" and General
Booth's "In Darkest England, and the Way Out," a book of great power,
which sets forth the most practical method yet proposed for the
immediate relief of society from the burdens of pauperism and vice.
TABLE I.--THE WORLD'S BEST BOOKS.
[See explanation on the preceding pages.]
(first shelf) (second shelf)
1. Religion & Morals.
Bible[1] Milton[11]
Bunyan[2] Keble[12]
Taylor[3] Cicero[13]
Kempis[4] Pascal[14]
Spencer[5] Channing[15]
M. Aurelius[6] Aristotle[16]
Plutarch[7] St. Augustine[17]
Seleca[8] Butler[18]
Epictetus[9] Spinoza[19]
Brooks[10]
Drummond[10]
2. Poetry & the Drama.
Shakspeare[20] Spenser[27]
Homer[21] Lowell[28]
Dante[22] Whittier[29]
Goethe[23] Tennyson[30]
Milton[24] Scott[32]
AEschylus[25] Byron[33]
Fragments[26] Shelley[34]
Keats[35]
Campbell[36]
Moore[37]
Thomson[38]
Macaulay[39]
Dryden[40]
Collins[41]
Ingelow[42]
Bryant[43]
Longfellow[44]
Herbert[45]
Goldsmith[46]
Coleridge[47]
Wordsworth[48]
Pope[49]
Southey[50]
Walton[51]
Browning[52]
Young[53]
Jonson[54]
Beaumont & F.[55]
Marlowe[56]
Sheridan[57]
Carleton[58]
Virgil[60]
Horace[61]
Lucretius[62]
Ovid[63]
Sophocles[64]
Euripides[65]
Aristophanes[66]
Pindar[67]
Hesiod[68]
Heine[69]
Schiller[70]
Corneille[71]
Racine[71]
Moliere[71]
Musset[74]
Calderon[75]
Petrarch[76]
Ariosto[77]
Tasso[78]
Camoens[79]
Omar[80]
Firdusi[81]
Hafiz[81]
Saadi[81]
Arnold[82]
Pushkin[83]
Lermontoff[84]
3. Science.
Physiology and Hygiene[85] De Tocqueville[99]
"Our Country"[86] Von Holst[100]
Federalist[88] Smith[101]
Bryce[89] Malthus[102]
Montesquieu[90] Carey[103]
Bagehot[90] Cairnes[104]
Mill[91] Freeman[105]
Bain[92] Jevons[106]
Spencer[93] Mulford[107]
Darwin[94] Hobbes[108]
Herschel[95] Machiavelli[109]
Proctor[95] Max Mueller[110]
Lyell[96] Trench[111]
Lubbock[96] Taylor[112]
Dawson[96] White[113]
Wood[97] Cuvier[114]
Whewell[98] Cook[115]
Tyndall[116]
Airy[117]
Faraday[118]
Helmholtz[119]
Huxley[120]
Gray[121]
Agassiz[122]
Silliman[123]
4. Biography.
Plutarch[124] G. Smith[139]
Phillips[125] Bourrienne[140]
Boswell[126] Johnson[141]
Lockhart[127] Walton[142]
Marshall[128] Stanley[143]
Franklin[128] Irving[144]
Nicolay & H.[129] Southey[145]
Grant[129] Stanhope[146]
Carlyle[130] Moore[147]
Renan[130] Jameson[148]
Farrar[131] Baring-Gould[149]
Emerson[132] Field[150]
[100] Greatest Men[133] Hamilton[151]
Parton[134] Darwin[151]
Hale[135] Alcott[151]
Drake[136] Talleyrand[151]
Fox[137] Macaulay[151]
Grimm[138] Bashkirtseff[151]
Guerin[151]
Jefferson[151]
American Statesmen[151]
English Men of Letters[151]
5. History.
Green[152] Creasy [155a]
Bancroft[153] Lecky[156]
Guizot[154] Clarke[157]
Buckle[154] Moffat[158]
Parkman[155] Draper[159]
Freeman[155] Hallam[160]
Fiske[155] May[161]
Fyffe[155] Hume[162]
Macaulay[163]
Froude[164]
Gibbon[165]
Grote[166]
Palfrey[167]
Prescott[168]
Motley[169]
Frothingham [169a]
Wilkinson[170]
Niebuhr[171]
Menzel[172]
Milman[173]
Ranke[174]
Sismondi[175]
Michelet[176]
Carlyle[177]
Thierry[178]
Tacitus[179]
Livy[180]
Sallust[181]
Herodotus[182]
Xenophon[183]
Thucydides[184]
Josephus[185]
Mackenzie[185]
Rawlinson[185]
6. Philosophy.
Spencer[186] Mill[192]
Plato[187] Mansel[193]
Berkeley[188] Buechner[194]
Kant[189] Edwards[195]
Locke & Hobbes[190] Bentham[196]
Comte[191] Maurice[197]
Lewes Hume[198]
or Ueberweg Hamilton[199]
or Schwegler Aristotle[200]
or Schlegel Descartes[201]
on the Cousin[201]
History of Hegel & Schelling[202]
Philosophy. Fichte[203]
Erasmus[204]
Fiske[205]
Hickok[206]
McCosh[207]
Spinoza[208]
7. Essays.
Emerson[209] Macaulay
Bacon[210] Leigh Hunt
Montaigne[211] Arnold
Ruskin[212] Buckle
Carlyle[212] Hume
Addison[212] Froude
Symonds
Steele
Browne
Johnson
De Quincey
Foster
Hazlitt
Lessing
Sparks
Disraeli
Whipple
Lamb
Schiller
Coleridge
8. Fiction.
Scott[213] Rousseau[235]
Eliot[214] Saintine[235]
Dickens[215] Coffin[236]
Hawthorne[216] Reade[236]
Goldsmith[217] Warren[236]
Bulwer[218] Landor[237]
MacDonald[219] Turgenieff[237]
Thackeray[220] Sue[237]
Kingsley[221] Manzoni[237]
Wallace[222] Cottin[238]
Tourgee[223] Besant[238]
Hugo[224] Stevenson[238]
Dumas[224] Ward[239]
Defoe[225] Deland[239]
Hughes[225] Sewell[239]
Stowe[226] Bret Harte[239]
Cooper[226] Green[240]
Curtis[227] Mulock[240]
Warner[227] Disraeli[240]
Aldrich[228] Howells[240]
Hearn[228] Tolstoi[240]
Ebers[229] Sand[241]
Sienkiewicz[229] Black[241]
Austen[230] Blackmore[241]
Bronte[230] Schreiner[241]
Alcott[231] Bremer[242]
Burnett[231] Trollope[242]
Cable[232] Winthrop[242]
Craddock[232] Richardson[243]
Whitney[233] Smollett[243]
Jewett[233] Boccaccio[243]
Fielding[234]
Le Sage[234]
Balzac[234]
9. Oratory.
Demosthenes Sumner
Burke Henry
Fox Otis
Pitt Jay
Webster Madison
Clay Jefferson
Phillips Beecher
Lincoln Brooks
Everett Choate
Bright Garfield
Ingersoll
Erskine
Sheridan
Gladstone
Cicero
Quintilian
Bossuet
Saint Chrysostom
10. Wit & Humor.
Lowell[244] Ingersoll[248]
Holmes[245] Holley[249]
Dickens[246] Curtis[250]
Cervantes[247] Depew[251]
Twain[252]
Warner[253]
Edwards[254]
Hale[255]
Nasby[256]
Ward[257]
Jerrold[258]
Voltaire[259]
Byron[259]
Butler[260]
Swift[260]
Rabelais[261]
Sterne[261]
Juvenal[262]
Lucian[262]
11. Fables & Fairy Tales.
Andersen[263] Bulfinch[268]
La Fontaine[264] Saxe[269]
AEsop[265] Florian[270]
Grimm[266] Kipling[270]
Goethe[267] Babrius[271]
Hawthorne[267] Hauff[272]
Ovid[273]
Curtin[273]
Fiske[273]
12. Travel.
Cook[274] Marco Polo[277]
Humboldt[275] Kane[278]
Darwin[276] Livingstone[279]
Stanley[280]
Du Chaillu[281]
Niebuhr[282]
Bruce[283]
Heber[284]
Lander[285]
Waterton[286]
Mungo Park[287]
Ouseley[288]
Barth[289]
Boteler[290]
Maundeville[291]
Warburton[292]
13. Guides.
Foster[293] Brook[303]
Pall Mall[294] Leypoldt[304]
Morley[295] Richardson[305]
Welsh[296] Harrison[306]
Taine[297] Ruskin[307]
Botta[298] Bright[308]
Allibone[299] Dunlop[309]
Bartlett[300] Baldwin[309]
Ballou[301] Adams[309]
Bryant[302]
Palgrave[302]
Roget's Thesaurus
Dictionaries
Encyclopaedias
14. Miscellaneous.
Smiles' Self-Help[310] Sheking[324]
Irving's Sketch Book[311] Analects of Confucius[325]
Bacon's New Atlantis[312] Mesnevi[326]
Bellamy[313] Buddhism[327]
Arabian Nights[314] Mahabharata[328]
Munchausen[315] Ramayana[329]
Beowulf[316] Vedas[330]
Anglo-Saxon Chronicle[317] Koran[331]
Froissart[318] Talmud[332]
Nibelungenlied[319] Hooker[333]
Icelandic Sagas[320] Swedenborg[333]
Elder Edda[321] Newton[333]
The Cid[322] Kepler[333]
Morte D'Arthur[323] Copernicus[333]
Laplace[333]
REMARKS ON TABLE I.
RELIGION AND MORALS.
Religion and Morals, though not identical, are so closely related that
they are grouped together. The books in Column 1 by no means exhaust
these subjects, for they run like threads of gold through the whole warp
and woof of poetry. Philosophy, fiction, and fable, biography, history,
and essays, oratory and humor, seem rather satellites that attend upon
moral feelings than independent orbs, and even science is not dumb upon
these all-absorbing topics. If we are to be as broad-minded in our
religious views as we seek to be in other matters, we must become
somewhat acquainted with the worship of races other than our own. This
may be done through Homer, Hesiod, Ovid, Confucius, Buddha, the Vedas,
Koran, Talmud, Edda, Sagas, Beowulf, Nibelungenlied, Shah Nameh, etc.
(which are all in some sense "Bibles," or books that have grown out of
the hearts of the people), and through general works, such as Clarke's
"Ten Great Religions."
[1] Especially Job, and Psalms 19, 103, 104, 107, in the Old Testament;
and in the New the four Gospels, the Acts, and the Epistles. (m. R. D.
C. G.)
[2] Next to the Bible, probably no book is so much read by the English
peoples as Bunyan's "Pilgrim's Progress," a simple, vivid, helpful story
of Christian life and its obstacles. No writer has so well portrayed the
central truths of Christianity as this great, untrained, imaginative
genius, pouring his life upon the deathless pages of his poetic allegory
during the twelve long years in the latter part of the 17th century,
when he was imprisoned, under the Restoration, merely because of his
religious principles. (e. R. D.)
[3] Taylor's "Holy Living and Dying" is a wise, frank talk about the
care of our time, purity of intention, practice of the presence of God,
temperance, justice, modesty, humility, envy, contentedness, etc. Some
portions of the first hundred and fifty pages are of the utmost
practical value. Even Ruskin admits that Taylor and Bunyan are rightly
placed among the world's best. (Eng., 17th cent.--m. R. D.)
[4] "Imitation of Christ" is a sister book to the last, written in the
15th century by Thomas a Kempis, a German monk, of pure and beautiful
life and thought. It is a world-famous book, having been translated into
every civilized language, and having passed through more than five
hundred editions in the present century. (m. R. D.)
[5] Spencer's "Data of Ethics" is one of the most important books in
literature, having to the science of ethics much the same relation as
Newton's "Principia" to astronomy, or Darwin's "Origin of Species" to
biology. Note especially the parts concerning altruistic selfishness,
the morality of health, and the development of moral feeling in general.
(Eng., 19th cent.--d. R. D. G.) Spencer's "First Principles" is also
necessary to an understanding of the scientific religious thinking of
the day. In connection with Spencer's works, "The Idea of God" and the
"Destiny of Man," by Fiske, may be read with profit. The author of these
books is in large part a follower and expounder of Spencer.
[6] The "Meditations" of M. Aurelius is a book that is full of deep,
pure beauty and philosophy; one of the sweetest influences that can be
brought into the life, and one of Canon Farrar's twelve favorites out of
all literature. (Rome, 2d cent.--m. R. D.)
[7] Plutarch's "Morals" supplied much of the cream used by Taylor in the
churning that produced the "Holy Living and Dying." Emerson says that we
owe more to Plutarch than to all the other ancients. Many great authors
have been indebted to him,--Rabelais, Montaigne, Montesquieu, Voltaire,
Rousseau, Shakspeare, Bacon, and Dryden, among the number. Plutarch's
"Morals" is a treasure-house of wisdom and beauty. There is a very fine
edition with an introduction by Emerson. (Rome, 1st cent.--m. R. D.)
[8] Seneca's "Morals" is a fit companion of the preceding six books,
full of deep thought upon topics of every-day import, set out in clear
and forceful language. The Camelot Library contains a very good
selection from his ethical treatises and his delightful letters, which
are really moral essays. (Rome, 1st cent.--m. R. D.)
[9] Epictetus was another grand moralist, the teacher of Marcus
Aurelius. Next to Bunyan and Kempis, the books of these great stoics,
filled as they are with the serenity of minds that had made themselves
independent of circumstance and passion, have the greatest popularity
accorded to any ethical works. Epictetus was a Roman slave in the 1st
century A. D. (m. R. D.)
[10] The little book on "Tolerance" by Phillips Brooks ought to be read
by every one. See Table III. side No. 23. The sermons of Dr. Brooks and
of Robertson are among the most helpful and inspiring reading we know.
Drummond's "Natural Law in the Spiritual World" is a book of ingenious
and often poetic analogies between the physical and spiritual worlds. If
read as poetry, no fault can be found with it; but the reader must be
careful to test thoroughly the laws laid down, and make sure that there
is some weightier proof than mere analogy, before hanging important
conclusions on the statements of this author. A later book by Drummond
entitled "The Greatest Thing in the World" is also worthy of attention.
(U. S., 19th cent.)
[11] "Areopagitica." A noble plea for liberty of speech and press.
(Eng., early 17th cent.)
[12] Keble's beautiful "Christian Year."
[13] Cicero's "Offices" is a very valuable ethical work. It directs a
young Roman how he may attain distinction and the respect and confidence
of his fellow-citizens. Its underlying principles are of eternal value,
and its arrangement is admirable. Dr. Peabody's translation is the best.
(Rome, 1st cent. B. C.)
[14] "Pensees." Pascal's "Thoughts" are known the world over for their
depth and beauty. (France, 17th cent.)
[15] "The Perfect Life" and other works. (U. S., 19th cent.)
[16] Ethics. (Greece, 4th cent. B. C.)
[17] "Confessions" and "The City of God." (Rome, 4th cent.)
[18] Analogy of Religion. (Eng., 18th cent.)
[19] Ethics and theologico-political speculation. (Dutch, 17th cent.)
POETRY AND THE DRAMA.
The faculty which most widely distinguishes man from his possible
relatives, the lower animals, and the varying power of which most
clearly marks the place of each individual in the scale of superiority,
is imagination. It lies at the bottom of intellect and character.
Memory, reason, and discovery are built upon it; and sympathy, the
mother of kindness, tenderness, and love, is itself the child of the
imagination. Poetry is the married harmony of imagination and beauty.
The poet is the man of fancy and the man of music. This is why in all
ages mankind instinctively feel that poetry is supreme. Of all kinds of
literature, it is the most stimulating, broadening, beautifying, and
should have a large place in every life. Buy the best poets, read them
carefully, mark the finest passages, and recur to them many, many times.
A poem is like a violin: it must be kept and played upon a long time
before it yields to us its sweetest music.
The drama, or representation of human thought and life, has come into
being, among very many peoples, as a natural outgrowth of the faculty of
mimicry in human nature. Among the South Sea Islanders there is a rude
drama, and in China such representations have existed from remote ages.
Greece first brought the art to high perfection; and her greatest tragic
artists, AEschylus, Sophocles, and Euripides, of the fifth century B. C.,
are still the highest names in tragedy. The Greek drama with AEschylus
was only a dialogue. Sophocles introduced a third actor. It would be a
dull play to us that should fill the evening with three players. In
another thing the Grecian play was widely different from ours. The aim
of ancient playwrights was to bring to view some thought in giant form
and with tremendous emphasis. The whole drama was built around, moulded,
and adapted to one great idea. The aim of English writers is to give an
interesting glimpse of actual life in all its multiplicity of interwoven
thought and passion, and let it speak its lessons, as the great
schoolmistress, Nature, gives us hers. The French and Italian drama
follow that of Greece, but Spain and England follow Nature.
_Mystery and miracle plays_ were introduced about 1100 A. D., by
Hilarius, and were intended to enforce religious truths. God, Adam, the
Angels, Satan, Eve, Noah, etc., were the characters. In the beginning of
the 15th century, _morality plays_ became popular. They personified
faith, hope, sadness, magnificence, conceit, etc., though there might
seem little need of invention to personify the latter. About the time of
Henry VIII., _masques_ were introduced from Italy. In them the
performers wore extravagant costumes and covered the face, and lords and
ladies played the parts. It was at such a frolic that King Henry met
Anne Boleyn. The first English comedy was written in 1540, by Udall; and
the first tragedy in 1561, by Sackville and Norton. It was called
"Ferrex and Porrex." From this time the English drama rapidly rose to
its summit in Shakspeare's richest years at the close of the same
century. At first the theatre was in the inn-yard,--just a platform,
with no scenery but what the imagination of the drinking, swearing,
jeering crowd of common folk standing in the rain or sunlight round the
rough-made stage could paint.
On the stage sat a few gentlefolk able to pay a shilling for the
privilege. They smoked, played cards, insulted the pit, "who gave it to
them back, and threw apples at them into the bargain." Such were the
beginnings of what in Shakspeare's hands became the greatest drama that
the world has ever seen.
The manner of reading all good poetry should be: R. D. C. G.
If the reader wishes to study poetry critically, he will find abundant
materials in Lanier's "Science of English Verse" and Dowden's "Mind and
Art of Shakspeare" (books that once read by a lover of poetry will ever
after be cherished as among the choicest of his possessions); Lowell's
"Fable for Critics," "My Study Windows," and "Among my Books;" Arnold's
"Essays;" Hazlitt's "English Poets;" "English Men of Letters;" Poe's
"Essay on the Composition of the Raven;" Taine's "English Literature;"
Swinburne's "Essays and Studies;" Stedman's "Victorian Poets;" Shairp's
"Studies in Poetry;" Warton's "History of English Poetry;" Ward's
"History of English Dramatic Literature;" and Schlegel's "Dramatic
Literature."
[20] Shakspeare is the summit of the world's literature. In a higher
degree than any other man who has lived on this planet, he possessed
that vivid, accurate, exhaustive imagination which creates a second
universe in the poet's brain. Between our thought of a man and the man
himself, or a complete representation of him with all his thoughts,
feelings, motives, and possibilities, there is a vast gulf. If we had a
perfect knowledge of him, we could tell what he would think and do. To
this ultimate knowledge Shakspeare more nearly approached than any other
mortal. He so well understood the machinery of human nature, that he
could create men and women beyond our power to detect an error in his
work. This grasp of the most difficult subject of thought, and the
oceanic, myriad-minded greatness of his plays prove him intellectually
the greatest of the human race. It is simple nonsense to suppose that
Bacon wrote the dramas that bear the name of Shakspeare. They were
published during Shakspeare's life under his name; and Greene, Jonson,
Milton, and other contemporaries speak with unmistakable clearness of
the great master. Donnelly's Cryptogram is a palpable sham; and to the
argument that an uneducated man like Shakspeare could not have written
such grand poetry, while Bacon, as we know, did have a splendid ability,
it is a sufficient answer to remark that Shakspeare's sonnets, the
authorship of which is not and cannot be questioned, show far higher
poetical powers than anything that can be found in Bacon's acknowledged
works. Richard Grant White's edition is the best; and certainly every
one should have the very best of Shakspeare, if no other book is ever
bought. (16th cent.) See Table III. No. 1.
With Shakspeare may be used Dowden's "Shakspeare Primer," and "The Mind
and Art of Shakspeare," Abbott's "Shakspearian Grammar," Lanier's
"Science of English Verse," Hazlitt's "Characters of Shakspeare's Plays"
and "Age of Elizabeth," Lamb's "Tales from Shakspeare," Ward's "English
Dramatic Literature, and History of the Drama," Lewes' "Actors and the
Art of Acting," Hutton's "Plays and Players," Leigh Hunt's "Imagination
and Fancy," and Whipple's "Literature of the Age of Elizabeth."
[21] Homer is the world's greatest epic poet. He is the brother of
Shakspeare, full of sublimity and pathos, tenderness, simplicity, and
inexhaustible vigor. Pope's translation is still the best on the whole,
but should be read with Derby's Iliad and Worsley's Odyssey. In some
parts these are fuller of power and beauty; in others, Pope is far
better. Flaxman's designs are a great help in enjoying Homer, as are
also the writings of Gladstone, Arnold, and Symonds. (Greece, about 1000
B. C.) See Table III. No. 2.
[22] Ruskin thinks Dante is the first figure of history, the only man in
whom the moral, intellectual, and imaginative faculties met in great
power and in perfect balance. (Italy, 14th cent.) Follow the advice
given in Table III. No. 5, and, if possible, read Longfellow's
translation. See note 24, p. 30.
Among writings that will be found useful in connection with Dante, are
Rossetti's "Shadow of Dante," Lowell's Essay in "Among my Books,"
Symonds' "Introduction to the Study of Dante," Farrar's "Lecture on
Dante," Mrs. Ward's "Life of Dante," Botta's "Dante as a Philosopher,"
and Carlyle's "Heroes and Hero Worship."
[23] Goethe is unquestionably the greatest German, and one of the first
six names in literature. His "Faust" is a history of the soul. Read
Bayard Taylor's translation, and the explanation of the drama's meaning
given in Taylor's "Studies in German Literature." "Faust" was the work
of half a century, and completed in 1818, when Goethe was past eighty.
As a preparation for Goethe it is interesting to study the story of
Faust in Butterworth's "Zigzag Journeys," and read Marlowe's "Drama of
Faustus." The novel "Wilhelm Meister" has been splendidly translated by
Carlyle, and is full of the richest poetic thought, crammed with wisdom,
and pervaded by a delicious sweetness forever provoking the mind to
fresh activity. As a work of genius, it is preferred by some critics
even to Hamlet. See Table III. No. 15.
[24] Milton stands in his age like an oak among hazel-bushes. The
nobility of his character, the sublimity of his thought, and the classic
beauty of his style give him, in spite of some coldness and some lack of
naturalness in his conception of the characters of Adam and Eve, the
second place in English literature. His "Lycidas" is a beautiful elegy.
His "Comus" is the best masque in English, and certainly a charming
picture of chastity and its triumph over temptation. It should be read
along with Spenser's "Britomart." His "L' Allegro" and "Il Penseroso,"
on mirth and melancholy, are among the best lyrics of the world. His
"Paradise Lost" is the greatest epic in English, and the greatest that
any literature has had since Dante's "Divine Comedy." The two books
should be read together. Milton shows us Satan in all the pride and pomp
and power this world oft throws around his cloven Majesty. Dante tears
away the wrappings, and we see the horrid heart and actual loathsomeness
of sin. (Eng., 17th cent.) See Table III. No. 2.
The writings of Stopford Brooke, Macaulay, Dr. Johnson, De Quincey, and
Pattison about Milton may be profitably referred to.
[25] AEschylus was the greatest of the noble triumvirate of Greek tragedy
writers. Sublimity reached in his soul the greatest purity and power
that it has yet attained on earth. One can no more afford to tread in
life's low levels all his days and never climb above the clouds to
thought's clear-ethered heights with AEschylus, than to dwell at the foot
of a cliff in New Mexico and never climb to see the Rockies in the blue
and misty distance, with their snowy summits shining in the sun. Read,
at any rate, his "Prometheus Bound" and his "Agamemnon." (5th cent. B.
C., the Golden Age of Grecian literature.) See Table III. No. 4.
The student of AEschylus will find much of value to him in Mahaffy's
"Greek Literature," "Old Greek Life," and "Social Life in Greece;"
Schlegel's "Dramatic Literature;" Donaldson's "Theatre of the Greeks,"
and Froude's "Sea Studies." Following the "Prometheus" of AEschylus, it
is a good plan to read the works of Goethe, Shelley, Lowell, and
Longfellow on the same topic. We thus bring close the ideas and fancies
of five great minds in respect to the myth of Prometheus.
[26] Many a selection in Table III. is of very high merit, and belongs
on the world's first shelf, although the poetic works of the author as a
whole cannot be allowed such honor. In the section preceding Table V.
also will be found a number of short writings of the very highest merit.
See explanatory note to Table I.
[27] Edmund Spenser is the third name in English literature. No modern
poet is more like Homer. He is simple, clear, and natural, redundant and
ingenuous. He is a Platonic dreamer, and worships beauty, a love sublime
and chaste; for all the beauty that the eye can see is only, in his
view, an incomplete expression of celestial beauty in the soul of man
and Nature, the light within gleaming and sparkling through the loose
woven texture of this garment of God called Nature, or pouring at every
pore a flood of soft, translucent loveliness, as the radiance of a
calcium flame flows through a porcelain globe. Spenser was Milton's
model. The "Faerie Queen," the "Shepherd's Calendar," and the "Wedding
Hymn" should be carefully read; and if the former is studied
sufficiently to arrive at the underlying spiritual meaning, it will ever
after be one of the most precious of books. (Eng., 16th cent.) See Table
III. No. 6. See also Lowell's "Among my Books," Craik's "Spenser and his
Poetry," and Taine's "English Literature."
[28] Lowell is one of the foremost humorists of all time. No one, except
Shakspeare, has ever combined so much mastery of the weapons of wit with
so much poetic power, bonhomie, and common-sense. Every American should
read his poems carefully, and digest the best. (Amer., 19th cent.) See
Table III. Nos. 12 and 24.
[29] Whittier is America's greatest lyric poet. Read what Lowell says of
him in the "Fable for Critics," and get acquainted with his poetry of
Nature and quiet country life, as pure as the snow and as sweet as the
clover. (Amer., 19th cent.) See Table III. No. 11.
[30] Tennyson is the first poet of our age; and though he cannot rank
with the great names on the upper shelf, yet his tenderness, and noble
purity, and the almost absolutely perfect music of much of his poetry
commands our love and admiration. Read his "In Memoriam," "Princess,"
"Idylls of the King," etc. (Eng., 19th cent.) See Table III. No. 11.
[31] Burns is like a whiff of the pure sea air. He is a sprig of
arbutus under the snow; full of tenderness and genuine gayety, always in
love, and singing forever in tune to the throbs of his heart. Read "The
Jolly Beggars," "The Twa Dogs," and see Table III. No. 11. (Scot., 18th
cent.)
[32] Probably nothing is so likely to awaken a love for poetry as the
reading of Scott. (Scot., 19th cent.) See Table III. No. 7.
[33] Byron is the greatest English poet since Milton, and except Goethe
the greatest poet of his age in the world. His music, his wonderful
control of language, his impassioned strength passing from vehemence to
pathos, his fine sense of the beautiful, and his combination of passion
with beauty would place him high on the first shelf of the world's
literature if it were not for his moral aberration. Read his "Childe
Harold." (Eng., 1788-1824.) See Table III. No. 13.
[34] Shelley is indistinct, abstract, impracticable, but full of love
for all that is noble, of magnificent poetic power and marvellous music.
Read "Prometheus Unbound," and see Table III. No. 13. (Eng., 19th cent.)
[35] Keats is the poetic brother of Shelley. He is deserving of the
title "marvellous boy" in a far higher degree than Chatterton. If the
lives of Shakspeare, Milton, and Wordsworth had ended at twenty-five, as
did the life of Keats, they would have left no poetry comparable with
that of this impassioned dreamer. Like Shakspeare, he had no fortune or
opportunity of high education. Read "Hyperion," "Lamia," "Eve of Saint
Agnes," "Endymion," and see Table III. No. 13. (Eng., 19th cent.)
[36] Campbell clothed in romantic sweetness and delicate diction, the
fancies of the fairy land of youthful dreams, and poured forth with a
master voice the pride and grandeur of patriotic song. Read his
"Pleasures of Hope," "Gertrude of Wyoming," and see Table III. No. 12.
(Eng., 19th cent.)
[37] Moore is a singer of wonderful melody and elegance and of
inexhaustible imagery. Read his "Irish Melodies." (Eng., 19th cent.) See
Table III. No. 11.
[38] Thomson is one of the most intense lovers of Nature, and sees with
a clear eye the correspondences between the inner and outer worlds upon
which poetry is built. Read his "Seasons" and "The Castle of Indolence."
(Eng., 18th cent.)
[39] Read Macaulay's "Lays of Ancient Rome." "Horatius" cannot fail to
make the reader pulse with all the heroism and patriotism that is in his
heart, and "Virginia" will fill each heart with mutiny and every eye
with tears. (Eng., 19th cent.) See Table III. No. 12.
[40] Dryden's song is not so smooth as Pope's, but doubly strong. His
translation of Virgil has more fire than the original, though less
elegance. He was the literary king of his time, but knew better _how_ to
say things than _what_ to say. (Eng., 17th cent.) See Table III. No. 14.
[41] Collins was a poet of fine genius. Beauty, simplicity, and sweet
harmony combine in his works, but he wrote very little. Read his odes,
"To Pity," "To Evening," "To Mercy," "To Simplicity." See Table III. No.
14. (Eng., 18th cent.)
[42] Jean Ingelow's poems deserve at least tasting, which will scarcely
fail to lead to assimilation. (Eng., 1862.) See Table III. No. 14.
[43] Bryant's "Thanatopsis," written at eighteen, gave promise of high
poetic power; but in the life of a journalist the current of energy was
drawn away from poetry, and America lost the full fruitage of her best
poetic tree. He is serene and lofty in thought, and strong in his
descriptive power and the noble simplicity of his language. (Amer., 19th
cent.) See Table III. No. 13.
[44] Longfellow's poetry is earnest and full of melody, but _as a whole_
lacks passion and imagery. Relatively to a world standard he is not a
great poet and has written little worthy of universal reading, but as
bone of our bone he has a claim on us as Americans for sufficient
attention at least to investigate for ourselves his merits. (Amer., 19th
cent.) See Table III. No. 10.
[45] Lowell says that George Herbert is as "holy as a flower on a
grave." (Eng., 1631.) See Table III. No. 13.
[46] Goldsmith's "Deserted Village" and "Traveller" will live as long as
the language. They are full of wisdom and lovely poetry. His dramas
abound in fun. Read "The Good-Natured Man" and "She Stoops to Conquer."
(Eng., 18th cent.) See Table IV.
[47] Read Coleridge's "Christabel," and get somebody to explain its
mysterious beauty to you; also his "Remorse," "Ode to the Departing
Year," "Ancient Mariner," and "Kubla Khan." The latter is the most
magnificent creation of his time, but needs a good deal of study for
most readers to perceive the beautiful underlying thought, as is the
case also with the "Mariner." Coleridge is difficult reading. He wrote
very little excellently, but that little should be bound in gold, and
read till the inner light of it shines into the soul of the reader. The
terrible opium habit ruined him. Read his life; it is a thrilling story.
(Eng., 1772-1834.) Table III. No. 11.
[48] Lowell says, in his "Fable for Critics," that he is always
discovering new depths
"in Wordsworth, undreamed of before,--
That divinely inspired, wise, deep, tender, grand--bore."
Nothing could sum up this poet better than that. His intense delight in
Nature and especially in mountain scenery, and his pure, serene,
earnest, majestic reflectiveness are his great charms. His "Excursion"
is one of the great works of our literature, and stands in the front
rank of the world's philosophical poetry. Its thousand lines of blank
verse roll through the soul like the stately music of a cathedral organ.
(Eng., 19th cent.) See Table III. No. 13.
[49] Pope is the greatest of the world's machine poets, the noblest of
the great army who place a higher value on skilful execution than on
originality and beauty of conception. The "Rape of the Lock" is his most
successful effort, and is the best of all mock-heroic poems. "The
sharpest wit, the keenest dissection of the follies of fashionable life,
the finest grace of diction, and the softest flow of melody adorn a tale
in which we learn how a fine gentleman stole a lock of a lady's hair."
Read also his "Essay on Man," and glance at his "Dunciad," a satire on
fellow-writers. (Eng., 1688-1744.) See Table III. No. 13, and Table IV.
[50] Southey had great ideas of what poetry should be, and strove for
purity, unity, and fine imagery; but there was no pathos or depth of
emotion in him, and the stream of his poetry is not the gush of the
river, but the uninteresting flow of the canal. Byron says, "God help
thee, Southey, and thy readers too." Glance at his "Thalaba the
Destroyer" and "Curse of Kehama." (Eng., 1774-1843.)
[51] Walton's "Compleat Angler" is worthy of a glance. (Eng., 1653.)
[52] Browning is very obscure, and neither on authority nor principle a
first-rate poet; but he is a strong thinker, and dear to those who have
taken the pains to dig out the nuggets of gold. Canon Farrar puts him
among the three living authors whose works he would be most anxious to
save from the flames. Mrs. Browning has more imagination than her
husband, and is perhaps his equal in other respects. (Eng., 19th cent.)
[53] Read Young's "Night Thoughts."
[54] Jonson, on account of his noble aims, comparative purity, and
classic style, stands next to Shakspeare in the history of English
drama. Read "The Alchemist," "Catiline," "The Devil as an Ass,"
"Cynthia's Revels," and "The Silent Woman." The plot of the latter is
very humorous. (Eng., 1700.)
[55] The dramas of Beaumont and Fletcher are poetically the best in the
language except those of Shakspeare. Read "Philaster," "The Fair Maid of
the Inn," "Thierry and Theodoret," "The Maid's Tragedy." (Eng., 17th
cent.)
[56] Marlowe's "Mighty Line" is known to all lovers of poetry who have
made a wide hunt. His energy is intense. Read "The Tragical History of
Dr. Faustus," based on that wonderfully fascinating story of the doctor
who offered his soul to hell in exchange for a short term of power and
pleasure, on which Goethe expended the flower of his genius, and around
which grew hundreds of plays all over Europe. (Eng., 17th cent.)
[57] For whimsical and ludicrous situations and a rapid fire of
witticisms, Sheridan's plays have no equals. Read "The School for
Scandal" and "The Rivals." (Eng., 18th cent.)
[58] Carleton's poetry is not of a lofty order, but exceedingly
enjoyable. Read his "Farm Ballads." (Amer., 19th cent.)
[60] Virgil is the greatest name in Roman literature. His "AEneid" is
the national poem of Rome. His poetry is of great purity and elegance,
and for variety, harmony, and power second in epic verse only to his
great model, Homer. (Rome, 1st cent. B. C.) Read Dryden's translation if
you cannot read the original.
[61] The Odes of Horace combine wit, grace, sense, fire, and affection
in a perfection of form never attained by any other writer. He is
untranslatable; but Martin's version and commentary will give some idea
of this most interesting man, "the most modern and most familiar of the
ancients." (Rome, 1st cent. B. C.)
[62] Lucretius is a philosophic poet. He aimed to explain Nature; and
his poem has much of wisdom, beauty, sublimity, and imagination to
commend it. Virgil imitated whole passages from Lucretius. (Rome, 1st
cent. B. C.)
[63] Ovid is gross but fertile, and his "Metamorphoses" and "Epistles"
have been great favorites. (Rome, 1st cent. B. C.)
[64] The "Antigone" and "OEdipus at Colonus" of Sophocles are of
exquisite tenderness and beauty. In pathos Shakspeare only is his equal.
(Greece, 5th cent. B. C.)
[65] Euripides is the third of the great triumvirate of Greek
dramatists. His works were very much admired by Milton and Fox. Read his
"Alcestis," "Iphigenia," "Medea," and the "Bacchanals." (Greece, 5th
cent. B. C.)
[66] Aristophanes is the greatest of Greek comedy writers. His plays are
great favorites with scholars, as a rule. Read the "Clouds," "Birds,"
"Knights," and "Plutus." (Greece, 5th cent. B. C.)
[67] Pindar's triumphal odes stand in the front rank of the world's
lyric poetry. (Greece, 5th cent. B. C.)
[68] Hesiod's "Theogony" contains the religious faith of Greece. He
lived in or near the time of Homer.
[69] Heine is the most remarkable German poet of this century. He has
written many gems of rare beauty, and many sketches of life unmatched
for racy freshness and graphic power.
[70] Schiller is the second name in German literature; indeed, as a
lover of men and as a poet of exquisite fancy, he far excels Goethe. He
was a great philosopher, historian, and critic. Read his "Song of the
Bell," and his drama of "Wallenstein," translated by Coleridge.
(Germany, 18th cent.)
[71] Corneille, Racine, and Moliere are the great French triumvirate of
dramatists. Their object is to produce one massive impression. In this
they follow the classic writers. A French, Greek, or Roman drama is to a
Shakspearean play as a statue to a picture, as an idea carved out of
Nature and rendered magnificently impressive by its isolation and the
beauty of its modelling, to Nature itself. The historical and ethical
value of the French plays is very great. Corneille is one of the
grandest of modern poets. Read "The Cid" ("As beautiful as the Cid"
became a proverb in France), and "Horace" (which is even more original
and grand than "The Cid"), and "Cinna" (which Voltaire thought the best
of all). Racine excels in grace, tenderness, and versatility. Read his
"Phedre." Moliere was almost as profound a master of human nature on its
humorous side as Shakspeare. He hates folly, meanness, and falsehood; he
is always wise, tender, and good. Read "Le Misanthrope," or "The
Man-Hater," and "Tartuffe," or "The Impostor." (17th cent.)
[74] Alfred de Musset is a famous French poet of this century, and is a
great favorite with those who can enjoy charming and inspiring thoughts
though mixed with the grotesque and extravagant.
[75] Calderon de la Barca is one of the greatest dramatists of the
world. His purity, power, and passion, his magnificent imagination and
wonderful fertility, will place him in company with Shakspeare in the
eternal society of the great. Read Shelley's fragments from Calderon,
and Fitzgerald's translation, especially "Zalamea" and "The
Wonder-Working Magician," two of his greatest plays. (Spain, 17th cent.)
[76] Petrarch's lyrics have been models to all the great poets of
Southern Europe. The subject of nearly all his poems is his hopeless
affection for the high-minded and beautiful Laura de Sade. His purity is
above reproach. He is pre-eminent for sweetness, pathos, elegance, and
melody. (Italy, 14th cent.)
[77] Ariosto is Italy's great epic poet. Read his "Orlando Furioso," a
hundred-fold tale of knights and ladies, giants and magicians. (Italy,
1474-1533).
[78] Tasso is the second name in Italian epic poetry; and by some he is
placed above Ariosto and named in the same breath with Homer and Virgil.
Read his "Jerusalem Delivered," and "Aminta," and glance at his minor
poems composed while in confinement. (Italy, 16th cent.)
[79] Camoens is the glory of Portugal, her only poet whose fame has
flown far beyond her narrow borders. Read his grand and beautiful poem,
the "Lusiad," a national epic grouping together all the great and
interesting events in the history of his country. (16th cent.)
[80] Omar Khayyam, the great astronomer poet of Persia, has no equal in
the world in the concise magnificence with which he can paint a grand
poetic conception in a single complete, well-rounded, melodious stanza.
Read Fitzgerald's translation. (12th cent.)
[81] Firdusi, the author of the "Shah Nameh," or Poetic History of the
great deeds of the sultans. Hafiz, the poet of love, and Saadi are other
great Persian poets deserving at least a glance of investigation.
(11th-14th cents.)
[82] Arnold's "Light of Asia" claims our attention for the additions it
can make to our breadth of thought, giving us as it does briefly and
beautifully the current of thinking of a great people very unlike
ourselves. (Eng., 19th cent.)
[83] Pushkin is called the Byron of Russia. Russian songs have a
peculiar, mournful tenderness. "They are the sorrows of a century
blended in one everlasting sigh." (19th cent.)
[84] Lermontoff is the Russian Schiller. (19th cent.)
SCIENCE.
The most important sciences for the ordinary reader are Physiology,
Hygiene, Psychology, Logic, Political Economy, Sociology and the Science
of Government, Astronomy, Geology, and Natural History; but an
elementary knowledge of all the sciences is very desirable on account of
the breadth of mind and grasp of method which result therefrom. The
International Scientific Series is very helpful in giving the brief
comprehensive treatment of such subjects that is needed for those who
are not specialists. The best books in this department are continually
changing, because science is growing fast, and the latest books are apt
to be fuller and better than the old ones. The best thing that can be
done by one who wishes to be sure of obtaining the finest works upon any
given subject in the region of scientific research, is to write to a
professor who teaches that subject in some good university,--a professor
who has not himself written a book on the subject,--and get his judgment
on the matter.
[85] Physical health is the basis of all life and activity, and it is
of the utmost importance to secure at once the best knowledge the world
has attained in relation to its procurement and preservation. This
matter has far too little attention. If a man is going to bring up
chickens, he will study chicken books no end of hours to see just what
will make them lay and make them fat and how he may produce the finest
stock; but if he only has to bring up a few children, he will give no
time to the study of the physical conditions of their full and fine
development. Some few people, however, have a strange idea that a child
is nearly as valuable as a rooster. There is no book as yet written
which gives in clear, easily understood language the known laws of diet,
exercise, care of the teeth, hair, skin, lungs, etc., and simple
remedies. Perhaps Dalton's "Physiology," Flint's "Nervous System,"
Cutter's "Hygiene," Blaikie's "How to get Strong," and Duncan's "How to
be Plump," Beard's "Eating and Drinking," Bellows' "Philosophy of
Eating," Smith on Foods, Holbrook's "Eating for Strength," "Fruit and
Bread," "Hygiene for the Brain," "How to Strengthen the Memory," and
Kay's book on the Memory, Walter's "Nutritive Cure," Clark's "Sex in
Education," Alice Stockham's "Tokology" or "Hygiene for Married Women,"
and Naphy's "Transmission of Life" will together give some idea of this
all-valuable subject, though none of these books except the first are in
themselves, apart from their subject, worthy of a place on the first
shelf.
[86] Dr. Strong's little book, "Our Country," is of the most intense
interest to every American who loves his country and wishes its welfare.
(U. S., 19th cent.)
[88] The "Federalist" was a series of essays by Hamilton, Jay, and
Madison, in favor of the Federal Constitution, and is the best and
deepest book on the science of government that the world contains.
(Amer., 1788.)
[89] Bryce on the American Commonwealth is a splendid book, a complete,
critical, philosophic work, an era-making book, and should be read by
every American who wishes to know how our institutions appear to a
genial, cultured, broad-minded foreigner. Mr. Bryce has the chair of
Political Economy in Oxford, and is a member of Parliament. His chief
criticism of our great republic is that it is _hard to fix
responsibility_ for lawlessness under our institutions, which is always
an encouragement to wrongdoers. His book should be read with De
Tocqueville. (Eng., 19th cent.)
[90] Montesquieu's "Spirit of Laws" is a profound analysis of law in
relation to government, customs, climate, religion, and commerce. It is
the greatest book of the 18th century. Read with it Bagehot's "Physics
and Politics."
[91] Mill's "Logic" and "Political Economy" are simply necessities to
any, even moderately, thorough preparation for civilized life in
America. (Eng., 19th cent.)
[92] Read Bain on the "Emotions and the Will," "Mind and Body," etc.
(Eng., 19th cent.)
[93] Herbert Spencer is the foremost name in the philosophic literature
of the world. He is the Shakspeare of science. He has a grander grasp of
knowledge, and more perfect _conscious_ correspondence with the external
universe, than any other human being who ever looked wonderingly out
into the starry depths; and his few errors flow from an over-anxiety to
exert his splendid power of making beautiful generalizations. Read his
"First Principles," "Data of Ethics," "Education," and "Classification
of the Sciences," at any rate; and if possible, all he has written.
Plato and Spencer are brothers. Plato would have done what Spencer has,
had he lived in the 19th century.
[94] Darwin's "Origin of Species" stands in history by the side of
Newton's "Principia." The thought of both has to a great extent become
the common inheritance of the race; and it is perhaps sufficient for the
general reader to refer to a good account of the book and its arguments,
such as may be found in the "Encyclopaedia Britannica." (Eng., 19th
cent.)
[95] Read Herschel and Proctor in Astronomy, to broaden and deepen the
mind with the grand and beautiful conceptions of this most poetic of the
sciences. Proctor's books are more fascinating than any fiction. (Eng.,
19th cent.)
[96] For a knowledge of what has been going on in this dim spot beneath
the sun, in the ages before man came upon the stage, and for an idea
about what kind of a fellow man was when he first set up housekeeping
here, and how long ago that was, read Lyell's "Geology;" Lubbock's
"Prehistoric Times," "Origin of Civilization and Primitive Condition of
Man," and Lyell's "Antiquity of Man" (Eng., 19th cent.); and Dawson's
"Chain of Life." (U. S., 19th cent.)
[97] Read Wood's beautiful and interesting books on Natural History;
especially his "Evidences of Mind in Animals," "Out of Doors,"
"Anecdotes of Animals," "Man and Beast," "Here and Hereafter." (Eng.,
19th cent.)
[98] Whewell's "History of the Inductive Sciences" is a very broadening
book.
[99] De Tocqueville's "Democracy in America" is one of the great books,
and is superior in depth and style even to Bryce. The two books
supplement each other. See note 89: (France, 18th cent.)
[100] "Constitutional History of the United States." (Ger., 19th cent.)
[101] "Wealth of Nations," "Moral Sentiments." (Eng., 18th cent.)
[102] "Principles of Population." One of the most celebrated of books.
(Eng., 18th cent.)
[103] "Principles of Social Philosophy." (Eng., 19th cent.)
[104] "Essays on Political Economy," "Leading Principles of Political
Economy." (Eng., 19th cent.)
[105] "Comparative Politics." (Eng., 19th cent.)
[106] "The Theory of Political Economy," "The Logic of Statistics."
(Eng., 19th cent.)
[107] "The Nation, the Foundation of Civil Order and Political Life in
the United States." (U. S., 19th cent.)
[108] "Leviathan." See note 190. (Eng., 16th cent.)
[109] "The Prince." (Italy, 1469-1527.)
[110] "Chips from a German Workshop," and various works on Philology.
(Ger., 19th cent.)
[111] "Study of Words," etc. (Eng., 19th cent.)
[112] "Words and Places." (Eng., 19th cent.)
[113] "Natural History of Selborne." (Eng., 19th cent.)
[114] "Animal Kingdom." (France, early 19th cent.)
[115] "Voyages." (Eng., 18th cent.)
[116] "Heat as a Mode of Motion," "Forms of Water," etc. (Eng., 19th
cent.)
[117] "On Sound." (Eng., 19th cent.)
[118] "Scientific Researches." (Eng., 19th cent.)
[119] "Conservation of Energy." In a book on this subject edited by E.
L. Youmans. (Ger., 19th cent.)
[120] "Man's Place in Nature." (Eng., 19th cent.)
[121] Botany. (U. S., 19th cent.)
[122] "Methods of Study in Natural History." (U. S. 19th cent.)
[123] Physics. (U. S., 19th cent.)
BIOGRAPHY.
Biography carefully read will cast a flood of light before us on the
path of life. Read Longfellow's "Psalm of Life," and try to find the
teachings he refers to in the lives of great men. The world still lacks
what it very much needs,--a book of _brief_ biographies of the greatest
and noblest men and women of every age and country, by a master hand.
The aim should be to extract from the past what it can teach us of value
for the future; and to do this biography must become a comparative
science, events and lives must be grouped over the whole range of the
years, that by similarities and contrasts the truth may appear. Smiles's
"Self-Help" is a partial realization of this plan.
The manner of reading should be: R. D.
[124] Plutarch's "Lives" comes nearer to a comparative biography than
any other book we have. He contrasts his characters in pairs, a Greek
and a Roman in each couplet. It is one of the most delightful of books,
and among those most universally read by cultured people of all nations.
Dryden's translation revised by Clough is the best. (Rome, 1st cent.)
[125] In Wendell Phillips's oration on "Toussaint L'Ouverture," there is
a fascinating comparison of the noble negro warrior with Napoleon. (U.
S., 19th cent.)
[126] Boswell's "Johnson" is admittedly the greatest life of a single
person yet written. (Eng., 18th cent.)
[127] Lockhart's "Life of Scott" is a favorite with all who read it.
Wilkie Collins especially recommends it as finely picturing genius and
nobility of character. (Eng., 19th cent.)
[128] Marshall's "Life of Washington" is an inspiring book. Gladstone
said to Mr. Depew: "Sixty years ago I read Chief-Justice Marshall's
'Life of Washington,' and I was forced to the conclusion that he was
quite the greatest man that ever lived. The sixty years that have passed
have not changed that impression; and to any Englishman who seeks my
advice in the line of his development and equipment I invariably say,
'Begin by reading the Life of George Washington.'" (U. S., 19th cent.)
Franklin's "Autobiography" is brief, philosophic, and delightfully frank
and clear. (U. S., 18th cent.)
[129] "The Life of Lincoln," by Nicolay and Hay, is a book that has very
strong claims to the attention of every American, and every lover of
liberty, greatness, nobility, and kindliness. (U. S., 19th cent.)
Grant's "Memoirs" deserves reading for similar reasons. The great
General lived an epic, and wrote a classic. (U. S. 19th cent.)
[130] Read Carlyle's "Life of John Sterling," "Oliver Cromwell's
Letters and Speeches," and "Heroes and Hero Worship." (Eng., 19th cent.)
Renan's "Life of Christ." (France, 19th cent.)
[131] Canon Farrar's little "Life of Dante" is, considering its brevity,
one of the best things in this department. (Eng., 19th cent.)
[132] Emerson's "Representative Men" most strongly stirs thought and
inspires the resolution. (U. S., 19th cent.)
[133] "The Portrait Collection of the Hundred Greatest Men," published
by Sampson, Low, & Co., 1879.
[134] Read Parton's "Sketches of Men of Progress." (U. S., 19th cent.)
[135] "Lights of Two Centuries." (U. S., 19th cent.)
[136] "Our Great Benefactors." (U. S., 19th cent.)
[137] "Book of Martyrs." (Eng., early 16th cent.)
[138] "The Life and Times of Goethe," and "Michaelangelo." Most
interesting books. (Germany, 19th cent.)
[139] "English Statesmen." (Eng., 19th cent.)
[140] "Life of Napoleon." (France, 19th cent.)
[141] "Lives of the Poets." (Eng., 18th cent.)
[142] Walton's "Lives." (Eng., 17th cent.)
[143] "Life of Dr. Arnold." (Eng., 19th cent.)
[144] "Life of Washington." (U. S., 19th cent.)
[145] "Life of Nelson." (Eng., 19th cent.)
[146] "Life of Pitt." (Eng., 19th cent.)
[147] "Life of Byron." (Eng., 19th cent.)
[148] "Lives of Female Sovereigns and Illustrious Women." (Eng., 19th
cent.)
[149] "Lives of the Saints." (Eng., 19th cent.)
[150] "Memories of many Men." (U. S., 19th cent.)
[151] "Reminiscences." (U. S., 18th cent.)
The Life and Letters of Darwin, Talleyrand, and Macaulay; the Journals
of Miss Alcott, Marie Bashkirtseff, and Eugenie de Guerin; the
Autobiography of Joseph Jefferson; the "American Statesmen" series,
edited by John T. Morse, Jr., and the "English Men of Letters" series
are all valuable books. The Journals of Miss Alcott and Marie
Bashkirtseff are stories of heart struggles, longings, failures, and
triumphs, and are of exceeding interest and great popularity. The
Journal of Eugenie de Guerin deserves to be better known than it is, for
the delicate sweetness of feeling that fills its pages.
HISTORY.
Remarks may be made about History very similar to those in the special
remarks concerning Biography. The field is too vast for an ordinary
life, and there is no book that will give in brief compass the net
results and profits of man's investment in experience and life,--the
dividends have not been declared. Guizot and Buckle come nearer to doing
this than any other writers; but _the_ book that shall reduce the past
to principles that will guide the future has not yet been written. The
student will be greatly assisted by the "Manual of Historical
Literature," by C. K. Adams. It is an admirable guide. Putnam's series,
"The Stories of the Nations," and Scribner's "Epoch" series are very
useful, especially for young people.
The manner of reading the best history should be: R. D. G.
[152] Green's "History of the English People" has probably the first
claims on the general reader. (Eng., 19th cent.)
[153] Bancroft's "History of the United States" should be read by every
American citizen, along with Dr. Strong's "Our Country." (U. S., 19th
cent.) The only trouble with Bancroft is that he does not bring the
history down to recent times. Hildreth for the student, and Ridpath for
practical business men supply this defect. Doyle's "History of the
United States" is perhaps the best small book, and his "American
Colonies" is also good. McMaster's "History of the People of the United
States" is a brilliant work, given largely to an account of the social
life of the people.
[154] Guizot's "History of Civilization" and "History of France"
(France, 19th cent.) are among the greatest books of the world; and with
Buckle's "History of Civilization" (Eng., 19th cent.) will give a
careful reader an intellectual breadth and training far above what is
attained by the majority even of reading men.
[155] Parkman is the Macaulay of the New World. He invests the truths of
sober history with all the charms of poetic imagination and graceful
style. His literary work must take its place by the side of Scott and
Irving. Read his "France and England in North America," "Conspiracy of
Pontiac," and "The Oregon Trail."
Freeman, Fiske, and Fyffe are also great historians, who require notice
here. Freeman's "Comparative Politics," "History of the Saracens,"
"Growth of the English Constitution," "History of Federal Government,"
and "General Sketch of History" are all great works,--the last being the
best brief account of general history that we possess. (Eng., 19th
cent.)
Fiske's "Civil Government," "War of Independence," and "Critical Period
of American History" are standard books. (U. S., 19th cent.)
Fyffe's "Modern Europe" is called the most brilliant picture of the
Revolutionary Period in existence. It is certainly one of the best of
histories.
[155a] "Fifteen Decisive Battles of the World." (Eng., 19th cent.)
[156] "History of England in the 18th Century," "History of European
Morals." These books take very high rank in respect to style, accuracy,
and completeness. (Eng., 19th cent.)
[157] "Ten Great Religions," by James Freeman Clarke. (U. S., 19th
cent.)
[158] "Comparative History of Religion."
[159] "Intellectual Development of Europe." A work of great power. (U.
S., 19th cent.)
[160] "Middle Ages." (Eng., 19th cent.)
[161] "Constitutional History of England." Bagehot's "English
Constitution" should be read with the works of Hallam, Freeman, and May
on this topic, because of its brilliant generalizations and ingenious
suggestions. (Eng., 19th cent.)
[162] "History of England." (Eng., 18th cent.)
[163] "History of England." (Eng., 19th cent.)
[164] "History of England." (Eng., 19th cent.)
[165] "Decline and Fall of the Roman Empire." (Eng., 18th cent.)
[166] "History of Greece." (Eng., 19th cent.)
[167] "History of New England." (U. S., 19th cent.)
[168] "Conquest of Mexico," "Peru," "Ferdinand and Isabella," etc.
Prescott's style is of the very best, clear, graphic, and ever
interesting. (U. S., 19th cent.)
[169] "Rise of the Dutch Republic." (U. S., 19th cent.)
[169a] "Rise of the Republic of the United States." (U. S., 19th cent.)
[170] "Ancient Egyptians." (Eng., 19th cent.)
[171] "History of Rome." (Eng., 19th cent.)
[172] "History of the Germans." (Ger., 1798.)
[173] "Latin Christianity." (Eng., 19th cent.)
[174] "History of the Papacy in the 16th and 17th Centuries." Ranke is
one of the strongest names in history. (Ger., 19th cent.)
[175] "Italian Republics." (France, 1773-1842.)
[176] "History of France." (France, 19th cent.)
[177] "French Revolution." (Eng., 19th cent.)
[178] "History of France," "Norman Conquest of England." (France, 19th
cent.)
[179] "Germania." His "Life of Agricola" is also worthy of note for the
insight into character, the pathos, vigor, and affection manifested in
its flattering pages. (Rome, 1st cent.)
[180] "History of Rome." (Rome, 1st cent. B. C.)
[181] "The War of Catiline." (Rome, 1st cent. B. C.)
[182] History of nearly all the nations known at the time he wrote.
(Greece, 5th cent. B. C.)
[183] "Anabasis, the Retreat of the Greek Mercenaries of the Persian
King." (Greece, 5th cent. B. C.)
[184] "History of the Athenian Domination of Greece." (Greece, 5th cent.
B. C.)
[185] "History of the Jewish Wars." (Jerusalem, 1st cent.)
Mackenzie's "History of the Nineteenth Century" is the best English book
on the subject.
Rawlinson's "Five Great Monarchies" is strongly recommended.
PHILOSOPHY.
There have been, since the waters of thought began to flow, two great
streams running side by side,--Rationalism and Mysticism. Those who sail
upon the former recognize Reason as king; those upon the latter enthrone
some vague and shadowy power, in general known as Intuition. The
tendency of the one is to begin with sense impressions, and out of these
to build up a universe in the brain corresponding to the outer world,
and to arrive at a belief in God by climbing the stairway of induction
and analogy. The tendency of the other is to start with the affirmed
nature of God, arrived at, the thinker knows not how, and deduce the
universe from the conception of the Divine Nature. If this matter is
kept in mind, the earnest student will be able to see through the mists
sufficiently to discover what the philosophers are talking about
whenever it chances that they themselves knew. Spencer, Plato, Berkeley,
Kant, Locke, are all worthy of a thorough reading; and Comte's
philosophy of Mathematics is of great importance.
The manner of reading good philosophic works should be: R. D. G.
[186] Spencer's Philosophy is the grandest body of thought that any one
man has ever given to the world. No one who wishes to move with the tide
can afford to be unfamiliar with his books, from "First Principles" to
his Essays. He believes that all ideas, or their materials, have come
through the avenues of the senses. (Eng., 19th cent.)
[187] Plato and Socrates are a double star in the sky of Philosophy that
the strongest telescopes have failed to resolve. Socrates wrote nothing,
but talked much. Plato was a pupil of his, and makes Socrates the chief
character in his writings. Ten schools of philosophy claimed Socrates as
their head, but Plato alone represented the master with fulness.
Considering the times in which he lived, the grandeur of his thought,
the power of his imagination, and the nobility, elegance, originality,
and beauty of his writings, Plato has no superior in the whole range of
literature. With Plato, ideas are the only realities, things are
imperfect expressions of them, and all knowledge is reminiscence of what
the soul learned when it was in the land of spirit, face to face with
ideas unveiled. Read his dialogues, especially "Phaedo" and the
"Republic." (Greece, 429-348 B. C.)
[188] A most acute idealist, whose argument against the existence of
matter is one of the great passages of literature. (Eng., 18th cent.)
[189] Kant argues that the _forms_ of _thought_, _time_, and _space_ are
necessarily intuitive, and not derived from sensation, since they are
prerequisites to sensation. Read the "Critique of Pure Reason,"
"Critique of Practical Reason," in which he treats moral philosophy, and
"Observations on the Sublime and Beautiful." (Germany, 18th cent.)
[190] Locke bases knowledge on sensation. His "Essay on the Conduct of
the Understanding" is one of the most valuable books in the language.
Spencer, Mill, and Locke have so fully imbibed all that was good in
Hobbes that it is scarcely necessary to read him. (Eng., 17th cent.)
[191] Comte's "Positive Philosophy" rejects intuitive knowledge. It is
characterized by force of logic, immense research, great power of
generalization (which is frequently carried beyond the warrant of
facts), and immense bulk. (France, 19th cent.)
[192] Sensationalist. A very strong writer. (Eng., 19th cent.)
[193] "Limits of Religious Thought." A very powerful exposure of the
weakness of human imagination. (Eng., 19th cent.)
[194] "Matter and Force." A powerful presentation of Materialism. (Ger.,
19th cent.)
[195] "Freedom of the Will." A demonstration of the impossibility of
free will. (Amer., 18th cent.)
[196] A very acute English philosopher. (Eng., 1748-1832.)
[197] Moral and Metaphysical Philosophy. (Eng., 19th cent.)
[198] A deep, clear thinker, of sceptical character, who laid bare the
flaws in the old philosophies. (Eng., 1711-1776.)
[199] One of the most profound metaphysicians the world can boast, and
inventor of quaternions, the latest addition to Mathematics. (Scot.,
19th cent.)
[200] Aristotle was the Bacon of the Old World. His method was the very
opposite of Plato's. He sought knowledge chiefly by carefully looking
out upon the world, instead of by introspection. No one has exerted a
greater influence on the thought of the world than this deep and earnest
thinker. (Greece, 4th cent. B. C.)
[201] A very beautiful writer of the idealist school, though he claims
to be eclectic. (France, 19th cent.)
[202] Hegel endeavored, by the method set forth in his "Absolute Logic,"
to reduce all knowledge to one science. (Ger., 1770-1831.) Schelling, in
his "Philosophy of Identity," tries to prove that the same laws hold in
the world of spirit as in the world of matter. Schelling bases his
system on an _intuition_ superior to reason, and admitting neither doubt
nor explanation. (Ger., 1775-1854.)
[203] Fichte carries the doctrines of Kant to their limit: to him all
except the life of the mind is a delusion. (Ger., 18th cent.)
[204] A great German philosopher of the time of Luther (16th cent.),
very learned, refined, and witty. Read his "Familiar Colloquies."
[205] "Cosmic Philosophy." (Amer. 19th cent.)
[206] "Rational Cosmology, or the Eternal Principles and Necessary Laws
of the Universe." (U. S., 19th cent.)
[207] Scottish Philosophy. (U. S., 19th cent.)
[208] Theologico-politico-moral, voluminous dissertations. (Amsterdam,
17th cent.)
ESSAYS.
Next to Shakspeare's Plays, Emerson's Essays and Lectures are to me the
richest inspiration. At every turn new and delightful paths open before
the mind; and the poetic feeling and imagery are often of the best. Only
the music and the power of discriminating the wheat from the chaff were
lacking to have made one of the world's greatest poets. To pour into the
life the spirit of Emerson, Bacon, and Montaigne is a liberal education
in itself. Addison's "Spectator" is inimitable in its union of humor,
sense, and imagination. A number of eminent men, Franklin among them,
have referred to it as the source of their literary power.
Read these essays: R. D. C. G.
[209] Emerson's Essays and Lectures certainly deserve our first
attention in this department, because of their poetic beauty and
stimulating effect upon the imagination and all that is pure and strong
and noble in the character. (Amer., 19th cent.)
[210] Nowhere can be found so much wit and wisdom to the square inch as
in Bacon's Essays. (Eng., 1600.)
[211] Montaigne is the most popular of all the world's essayists,
because of his common-sense, keen insight, and perfect frankness. The
only author we certainly know to have been in Shakspeare's own library.
(France, 1580.)
[212] Ruskin's "Ethics of the Dust," "Crown of Wild Olives," "Sesame
and Lilies," while somewhat wild in substance as well as in title, are
well worthy of reading for the intellectual stimulus afforded by their
breadth of view, novelty of expression and illustration, and the intense
force--almost fanaticism--which characterizes all that Ruskin says.
Ruskin is one of three living writers whom Farrar says he would first
save from a conflagration of the world's library. Carlyle is another of
the same sort. Read his "Past and Present," a grand essay on Justice.
(Eng., 19th cent.)
So far as style is concerned, Addison's Essays in the "Spectator" are
probably the best in the world.
FICTION.
In modern times much that is best in literature has gone into the pages
of the novel. The men and women of genius who would in other days have
been great poets, philosophers, dramatists, essayists, and humorists
have concentrated their powers, and poured out all their wealth to set
in gold a story of human life. Don't neglect the novels; but be sure to
read _good_ ones, and don't read too many.
In fiction, England, America, and France are far ahead of the rest of
the world. Scott may well be held to lead the list, considering the
quantity and quality of what he wrote; and Dickens, I presume, by many
would be written next, though I prefer the philosophic novelists, like
George Eliot, Macdonald, Kingsley, Hugo, etc. Fielding, Richardson,
Goldsmith, Sterne, and Defoe, Jane Austen, Cooper, and Marryat all claim
our attention on one account or another.
The United States can boast of Hawthorne, Tourgee, Wallace, Hearn,
Aldrich, Warner, Curtis, Jewett, Craddock, and many others.
France has a glorious army, led by Victor Hugo, George Sand, Balzac,
Dumas, Gautier, Merimee, etc. But the magnificent powers of these
artists are combined with sad defects. Hugo is the greatest literary
force since Goethe and Scott; but his digressions are sometimes terribly
tedious, his profundity darkness, and his "unities," his plot, and
reasons for lugging in certain things hard to find. Balzac gives us a
monotony of wickedness. George Sand is prone to idealize lust. "Notre
Dame" and "Les Miserables," "Le Pere Goriot" and "Eugenie Grandet,"
"Consuelo" and "La Mare au Diable," "Capitaine Fracasse" and "Vingt Ans
Apres," are great books; but they will not rank with "Tom Jones"
artistically, nor with the "Vicar of Wakefield," "Ivanhoe," "Adam Bede,"
"Romola," or "The Scarlet Letter," considering all the elements that go
to make a great novel.
Germany, Italy, and Spain have no fiction that compares with ours.
No doubt many will be surprised to find Fielding, Balzac, Tolstoi, and
others placed so low in the list as they are. The reason is that the
moral tone of a book is, with us, a weightier test of its claims on the
attention of the general reader, than the style of the author or the
merit of his work from an artistic point of view. There might be some
doubt whether or no we ought not to exclude from our tables entirely all
books that are not noble enough in character to admit of their being
read aloud in the family. The trouble is that much of the finest
literature of the world would have to be excluded. So there seems to be
no course but to admit these men, with a note as to their character.
One who wishes to make a study of the novel will be interested in
Dunlop's "History of Fiction," Tuckerman's "History of English Prose
Fiction," Hazlitt's "English Novelists," Lanier's "Novel," Masson's
"British Novelists and their Styles," and Jeaffreson's "Novels and
Novelists."
The best fiction should be read: R. D. G.
[213] "Heart of Midlothian," "Waverley," "Ivanhoe," "Kenilworth," "Guy
Mannering," "The Antiquary," "Rob Roy," "Old Mortality," "Red Gauntlet,"
etc. Scott is by very many--and among them some of the greatest--loved
more than any other novelist. The purity, beauty, breadth, and power of
his works will ever place them among the most desirable reading. (Eng.,
19th cent.) Hutton's "Sir Walter Scott," Carlyle's "Essay on Scott,"
Hazlitt's Essay in "The Spirit of the Age," and other books referred to
in the head notes to Poetry and Fiction will be useful to the student of
Scott.
[214] "Adam Bede," "Mill on the Floss," "Romola," "Silas Marner," etc.
Deep philosophy and insight into character mark all George Eliot's
writings. (Eng., 19th cent.) Lanier's "Development of the Novel" is
practically only an enthusiastic study of George Eliot.
[215] "Pickwick," "David Copperfield," "Bleak House," "Martin
Chuzzlewit," "Old Curiosity Shop," etc. Dickens needs no comment. His
fame is in every house. (Eng., 19th cent.)
[216] Hawthorne's "Scarlet Letter," "Marble Faun," "Great Stone Face,"
etc., are by universal consent accorded the first place in the lists of
American novels, and are among the best to be found anywhere. (U. S.,
19th cent.)
[217] "Vicar of Wakefield." One of Goethe's earliest favorites. (Eng.,
18th cent.)
[218] "Rienzi," "Last Days of Pompeii," "Last of the Barons," etc. Most
powerful, delightful, and broadening books. (Eng., 19th cent.)
[219] "Malcolm," "Marquis o' Lossie," "David Elginbrod," etc. Books of
marvellous spiritual helpfulness. (Eng., 19th cent.)
[220] "Esmond," "Vanity Fair," etc. Very famous books. (Eng., 19th
cent.)
[221] "Westward, Ho!" "Two Years Ago," etc. Among the best and most
famous pictures of true English character. (Eng., 19th cent.)
[222] "Ben Hur." This book has been placed close to the Bible and
Bunyan. (U. S., 19th cent.)
[223] "Hot Plowshares," "The Fool's Errand," "The Invisible Empire,"
"Appeal to Caesar," etc. Books widely known, but whose great merit is not
fully recognized. Tourgee, though uneven, seems to us a writer of very
great power. His "Hot Plowshares" is a powerful historical novel; and
few books in the whole range of literature are so intensely interesting,
and so free from all that is objectionable in subject or execution. (U.
S., 19th cent.)
[224] "Les Miserables," "Notre Dame de Paris," "Les Travailleurs de la
Mer," etc. Wraxall's translations of these great French novels are most
excellent. (France, 19th cent.)
Some critics think that no characters in Shakspeare are better drawn
than those of Dumas. "Monte Cristo," "The Vicomte de Bragelonne"
(Stevenson's favorite), "The Three Musketeers," "Twenty Years After,"
"The Marie Antoinette Romances," etc., are powerful and intensely
interesting novels. (France, 19th cent.)
[225] "Robinson Crusoe." There are few persons who do not get delight
and inspiration from Defoe's wonderful story. (Eng., 1661-1731.)
"Tom Brown at Rugby" and "Tom Brown at Oxford," by Thomas Hughes, are
delightful books for boys. (Eng., 19th cent.)
[226] Mrs. Stowe's "Uncle Tom's Cabin," was God's bugle-call to the war
against slavery. Her "Oldtown Folks" and "Sam Lawson's Fireside Stories"
are very humorous sketches of New England life. (U. S., 19th cent.)
Cooper's "The Spy," "The Pilot," "Leather Stocking," "Deerslayer,"
"Pathfinder," etc., are books that interfere with food and sleep, and
chain us to their pages. (U. S., 19th cent.)
[227] "Prue and I," by George William Curtis, is one of the most
suggestive stories in print, and is in every way a delightful book.
"Potiphar Papers," "Our Best Society," "Trumps," "Lotus Eaters,"--in
fact, everything Mr. Curtis writes, is of the highest interest, and
worthy of the most careful attention. (U. S., 19th cent.)
The same may be said of the works of Charles Dudley Warner,--"Being a
Boy," "A Hunting of the Deer," "In the Wilderness," "Backlog Studies,"
"My Summer in a Garden," etc. (U. S., 19th cent.)
[228] T. B. Aldrich, while perhaps not destined to rank with Scott,
Eliot, and Hawthorne, is nevertheless one of the most wholesome and
interesting of living authors. "The Stillwater Tragedy" is his strongest
book. "Prudence Palfrey," "The Story of a Bad Boy," "Margery Daw," and
"The Queen of Sheba" will doubtless be read by those who once become
acquainted with the author. (U. S., 19th cent.)
The first part of Hearn's "Chita" exceeds in beauty and strength any
other piece of descriptive writing with which we are familiar. (U. S.,
19th cent.)
[229] Ebers' "Homo Sum," "Uarda," and "An Egyptian Princess" are very
powerful studies of Egyptian life and history. (Ger., 19th cent.)
"With Fire and Sword," and its sequels, "The Deluge" and "Pan Michael,"
by Henryk Sienkiewicz, are among the greatest books of modern times.
They are historical romances of the conflict between Russia, Poland, and
Sweden; and their power may be guessed from the fact that critics have
compared the author favorably with Scott, Dumas, Schiller, Cervantes,
Thackeray, Turgenieff, Homer, and even Shakspeare. (Poland, 19th cent.)
[230] Miss Austen's "Emma," "Pride and Prejudice" (Eng., 19th cent.),
and Charlotte Bronte's "Jane Eyre" (Eng., 19th cent.), are all noble and
renowned novels.
[231] Louisa Alcott's "Little Women" is a lovely story of home life; and
its exceeding popularity is one of the most encouraging signs of the
growth of a taste for pure, gentle, natural literature. (U. S., 19th
cent.)
Mrs. Burnett's "Little Lord Fauntleroy" deservedly met at once a high
reward of popularity, and was placed in the front rank among stories of
child-life. As a teacher of gentleness and good manners it is
invaluable. (Eng., 19th cent.)
[232] Cable's "Grande Pointe," "The Grandissimes," etc., should be read
by all who wish to know the best living novelists. (U. S., 19th cent.)
Craddock's "Where the Battle was Fought," "Despot of Broomsedge Cove,"
"Prophet of Great Smoky Mountain," "Story of Keedon Bluffs," and "Down
the Ravine" are fascinating stories, the last two being fine books for
children. (U. S., 19th cent.)
[233] Mrs. A. D. T. Whitney's "Sights and Insights," though somewhat
too wordy for this busy world, is worthy a place here, because of its
spiritual beauty and its keen common-sense in respect to marriage and
courtship. (U. S., 19th cent.)
Sarah Orne Jewett has won a good name by her excellent stories,
"Deephaven," "Betty Leicester," etc. Her "Play Days" is a fine book for
girls. (U. S., 19th cent.)
[234] Fielding, Le Sage, and Balzac are writers of great power, whose
works are studied for their artistic merit, their wit, and the intense
excitement some of them yield; but the general moral tone of their
writings places them below the purer writers above spoken of in respect
to their value to the general reader, one of whose deepest interests is
character-forming.
Fielding's "Tom Jones" is by many considered the finest novel in
existence; and it undoubtedly would be, if along with its literary skill
it possessed the high tone of Curtis or Scott. "Jonathan Wild" is also a
powerful story. (Eng., 18th cent.)
"Gil Blas," by Le Sage, is one of the most famous and widely read books
in the world. (France, 1668--1747.)
Balzac's best are "Le Pere Goriot" (and especially the magnificent
preface to this book), "La Recherche de l'Absolu," "Eugenie Grandet,"
"La Peau de Chagrin," etc. (France, 19th cent.)
[235] Rousseau's "Emile" has been called the greatest book ever written;
but we presume that bias and limitation of knowledge on the part of
critics (not rare accomplishments of theirs) might procure a similar
judgment in respect to almost any strong and peculiar book. Rousseau's
"Confessions" are worth some attention. (France, 18th cent.)
Saintine's "Picciola" is a beautiful story. (France, 19th cent.)
[236] Coffin's "Boys of '76," "Boys of '61," "Story of Liberty," etc.,
are splendid books for young people. The last describes the march of the
human race from slavery to freedom. (U. S., 19th cent.)
Charles Reade's "Hard Cash," "Peg Woffington," "Cloister and Hearth" are
fascinating stories. (Eng., 19th cent.)
Warren's "Ten Thousand a Year."
[237] Landor's "Imaginary Conversations of Great Men." (Eng., 18th
cent.)
Turgenieff's "Liza," "Smoke," and "Fathers and Sons." (Russia, 19th
cent.)
Eugene Sue's "Wandering Jew."
Manzoni's "I promessi Sposi."
[238] Cottin's "Elizabeth."
Besant's "All Sorts and Conditions of Men." (Eng., 19th cent.)
Stevenson's "The Strange Case of Dr. Jekyll and Mr. Hyde." A book that
teaches the danger of giving way to the evil side of our nature.
[239] Mrs. Ward's "Robert Elsmere" is a famous picture of the struggle
in the religious mind to-day. (Eng., 19th cent.)
Margaret Deland's "John Ward, Preacher," is a book of the same class as
the last, but is not as interesting as her "Florida Days" or her Poems.
(U. S., 19th cent.)
Anna Sewell's "Black Beauty" is the autobiography of a noble horse, and
is tender and intelligent. A book that every one who has anything to do
with horses, or indeed with animals of any sort, cannot afford to
neglect. (Eng., 19th cent.)
Bret Harte's "Luck of Roaring Camp" is an interesting picture of Western
life, and opens a new vein of fiction. (U. S., 19th cent.)
[240] Green's "Hand and Ring," "Leavenworth Case," etc., are splendid
examples of reasoning, without any of the objectionable features usually
found in detective stories. (U. S., 19th cent.)
Miss Mulock's "John Halifax, Gentleman," is a great and famous book.
(Eng., 19th cent.)
Disraeli's "Lothair," "Endymion," etc., are strong books; requiring the
notice of one who reads widely in English fiction. (Eng., 19th cent.)
Howells' "A Modern Instance," "The Undiscovered Country," "A Hazard of
New Fortunes," "A Chance Acquaintance," "Lady of the Aroostook," etc.,
are not objectionable. (U. S., 19th cent.)
Tolstoi's "Anna Karenina" deserves mention, though we cannot by any
means agree with Howells that Tolstoi is the greatest of novelists. The
motive and atmosphere of his books are not lofty, and some of his work
is positively disgraceful. (Russia, 19th cent.)
[241] George Sand's "Consuelo" is a great book in more senses than one;
and although it deserves a place in this lower list, yet there are so
many better books, that if one follows the true order, life would be
likely to depart before he had time to read a four-volume novel by an
author of the tone of George Sand. (France, 19th cent.)
Black's "Strange Adventures of a Phaeton," "Princess of Thule." (Eng.,
19th cent.)
Blackmore's "Lorna Doone." (Eng., 19th cent.)
Olive Schreiner's "Story of an African Farm" is powerful, but not
altogether wholesome. (Eng., 19th cent.)
[242] Bremer's "The Neighbors." (Norway, 19th cent.)
Trollope's "Last Chronicles of Barsetshire." (Eng., 19th cent.)
Winthrop's "Cecil Dreeme," "John Brent." (U. S., 19th cent.)
[243] Richardson's "Pamela" and "Clarissa Harlowe" are interesting,
because they were the beginning of the English novel; but they are not
nice or natural, and have no attractions except their historic position.
(Eng., 1689-1761.)
Smollett's "Humphrey Clinker" is his strongest work. "Peregrine Pickle"
is very witty, and "Adventures of an Atom" altogether a miserable book.
Smollett possessed power, but his work is on a very low plane. (Eng.,
18th cent.)
Boccaccio's "Decameron" is a series of splendidly told tales, from which
Chaucer drew much besides his inspiration. The book is strong, but of
very inferior moral tone.
ORATORY.
Great and successful oratory requires deep knowledge of the human mind
and character, personal force, vivid imagination, control of language
and temper, and a faculty of putting the greatest truths in such clear
and simple and forceful form, that they may not only be grasped by
untrained minds, but will break down the barriers of prejudice and
interest, and fight their way to the throne of the will. Oratory is
religion, science, philosophy, biography, history, wit, pathos, and
poetry _in action_. This department of literature is therefore of the
greatest value in the development of mind and heart, and of the power to
influence and control our fellows. Especially read and study Demosthenes
on the Crown, Burke's "Warren Hastings' Oration," Webster's "Reply to
Hayne," Phillips' "Lovejoy" and "Toussaint L'Ouverture," and Lincoln's
"Gettysburg," his debates with Douglas, and his great speeches in New
York and the East before the War, in which fun, pathos, and logic were
all welded together in such masterly shape that professors of oratory
followed him about from city to city, studying him as a model of
eloquence. There is a book called "Great Orations of Great Orators" that
is very valuable, and there is a series of three volumes containing the
best British orations (fifteen orators), and another similar series of
American speeches (thirty-two orators).
WIT AND HUMOR.
In what wit consists, and why it is we laugh, are questions hard to
answer (read on that subject Spencer and Hobbes, and Mathews' "Wit and
Humor; their Use and Abuse"); but certain it is that a little seasoning
of fun makes intellectual food very palatable, and much better adapts it
for universal and permanent assimilation. Most men can keep what is tied
to their memories with a joke. Considering all things, Lowell, Holmes,
Dickens, and Cervantes are the best humorists the world affords. See
Table III. Group 4. They exhibit a union of power and purpose that is
not found elsewhere. They always subordinate wit to wisdom, always aim
at something far higher than making fun for its own sake, never appear
to make any effort for their effects, and always polish their work to
perfection. A great deal of the keenest wit will be found in books whose
general character puts them in some other column,--Poetry, Fiction,
Oratory, etc. The works of Shakspeare, Addison, Eliot, Sheridan,
Goldsmith, Irving, Higginson, Carleton, Thackeray, Hood, Saxe, Fielding,
Smollett, Aristophanes, Moliere, etc., abound in wit and humor.
The student of humor will be interested in Hazlitt's "English Comic
Writers," Thackeray's "English Humorists," and Besant's "French
Humorists."
[244] "Fable for Critics," "Biglow Papers." Considering the keenness and
variety of wit, the depth of sarcasm, the breadth of view, and the
importance of its subject, the "Biglow Papers" is the greatest humorous
work of all history. (U. S., 19th cent.)
[245] "Autocrat of the Breakfast-Table," "Professor at the
Breakfast-Table," etc. (U. S., 19th cent.)
[246] "Pickwick Papers." (Eng., 19th cent.)
[247] "Don Quixote." (Spain, 1547-1616.)
[248] Along with much violent scoffing, and calling of his betters by
hard names, Ingersoll's speeches contain some of the keenest wit in the
language. (U. S., 19th cent.)
[249] Marietta Holley's "Sweet Cicely," "Samantha at the Centennial,"
"Betsey Bobbet," "My Wayward Pardner," "Samantha at Saratoga," "Samantha
among the Brethren," etc., are full of quaint fun, keen insight, and
common-sense. They are somewhat more wordy than we wish they were, but
they are wholesome, and the author's purpose is always a lofty one. Her
fun is not mere fun, but is like the laughing eye and smiling lip of one
whose words are full of thought and elevated feeling. (U. S., 19th
cent.)
[250] G. W. Curtis's "Potiphar Papers" is a good example of quiet,
refined humor. (U. S., 19th cent.)
[251] Chauncey M. Depew's Orations and After-Dinner Speeches are worthy
of perusal by all lovers of wit and sense. (U. S., 19th cent.)
[252] Mark Twain is the greatest of those who make humor the primary
object. He does not, like Artemus Ward, make it the sole object,--there
is a large amount of keen common-sense in his "A Yankee in King Arthur's
Court," and there is also in it an open-mindedness to the newest
currents of thought that proves the author to be one of the most
wide-awake men of the day. "Innocents Abroad," "The Prince and the
Pauper," "Roughing It," etc., are very amusing books, the only drawback
being that the reader is sometimes conscious of an effort to be funny.
(U. S., 19th cent.)
253: Charles Dudley Warner's "In the Wilderness" gives
some exceedingly amusing sketches of backwoods life. See
also other books mentioned under the head of Fiction. (U. S.,
19th cent.)
[254] S. K. Edwards' "Two Runaways, and Other Stories" is a book that no
lover of humor can afford to be without. (U. S., 19th cent.)
[255] E. E. Hale's "My Double, and How He Undid Me," and other stories
contain much innocent recreation. (U. S., 19th cent.)
[256] Nasby's "Ekoes from Kentucky" and "Swingin' round the Circle" are
full of the keenest political sarcasm. Lincoln was so impressed with
Nasby's power, that he said he had rather possess such gifts than be
President of the United States. (U. S., 19th cent.)
[257] "Artemus Ward His Book," is funny, but lacks purpose beyond the
raising of a laugh. (U. S., 19th cent.)
[258] "Caudle Lectures," "Catspaw," etc. Jerrold is one of the sharpest
of wits. (Eng., 19th cent.)
[259] Voltaire was the Ingersoll of France, only more so. His
"Dictionnaire" is full of stinging sarcasm and fierce wit. (France, 18th
cent.)
"English Bards and Scotch Reviewers." The sharpest edge of Byron's keen
mind. (Eng., 1788-1824.)
[260] "Hudibras." A tirade against the Puritans. (Eng., 17th cent.)
"Gulliver's Travels," "Tale of a Tub," etc. Coarse raillery. (Eng., 18th
cent.)
[261] "Gargantua and Pantagruel." Immense coarse wit. (France, 16th
cent.)
"Tristram Shandy." Not delicate, but full of humor. (Eng., 18th cent.)
[262] Juvenal is one of the world's greatest satirists. (Rome, 1st
cent.)
Lucian is the Voltaire of the Old World. In his "Dialogues of the Gods"
he covers with ridicule the religious notions of the people. (Greek Lit,
2d cent. A. D.)
FABLES AND FAIRY TALES.
Fables and fairy tales are condensed dramas, and some of them are
crystal drops from the fountains of poetic thought. Often they express
in picture language the deepest lessons that mankind have learned; and
one who wishes to gather to himself the intellectual wealth of the
nations must not neglect them. In the section of the book devoted to
remarks upon the Guidance of Children, the literature of this subject
receives more extended attention. Among the books that will most
interest the student of this subject may be mentioned the works of Fiske
and Bulfinch, named below, Baldwin's "Story of the Golden Age,"
Ragozin's "Chaldea," Kingsley's "Greek Heroes," Cox's "Tales of Ancient
Greece," Hanson's "Stories of Charlemagne," Church's "Story of the
Iliad" and "Story of the AEneid," and the books mentioned in connection
with the "Morte D'Arthur," note 323 following:--
[263] "Fairy Tales," "Shoes of Fortune," etc. (Denmark, 19th cent.)
[264] The inimitable French poet of Fable. (France, 17th cent.)
[265] The world-famous Greek fabulist. His popularity in all ages has
been unbounded. Socrates amused himself with his stories. (Greece, 6th
cent. B. C.)
[266] "Household Tales." (Ger., early 19th cent.)
[267] "Reineke Fox." (Bohn Lib.) (Ger., early 19th cent.)
Kipling's "Indian Tales." (Eng., 19th cent.)
[268] "Age of Fable," "Age of Chivalry," etc. (Eng., 19th cent.)
[269] Fables in his poems. (U. S., 19th cent.)
[270] A French fabulist, next in fame to La Fontaine. (18th cent.)
[271] Greek Fables. (About com. Christ. era.)
[272] "Tales." (Ger., 19th cent.)
[273] "Metamorphoses." An account of the mythology of the ancients. Ovid
was one of Rome's greatest poets. (Rome, 1st cent. B. C.)
Curtin's "Myths and Folk-Lore of Ireland," "Myths and Folk-Tales of the
Russians," etc. (U. S., 19th cent.)
Fiske's "Myths and Myth Makers." (U. S., 19th cent.)
TRAVEL.
Nothing favors breadth more than travel and contact with those of
differing modes of life and variant belief. The tolerance and sympathy
that are folding in the world in these modern days owe much to the vast
increase of travel that has resulted from growth of commerce, the
development of wealth, and the cheapness and rapidity of steam
transportation. Even a wider view of the world comes to us through the
literature of travel than we could ever gain by personal experience,
however much of wealth and time we had at our disposal; and though the
vividness is less in each particular picture of the written page than if
we saw the full original reality that is painted for us, yet this is
more than compensated by the breadth and insight and perception of the
meaning of the scenes portrayed, which we can take at once from the
writer, to whom perhaps the gaining of what he gives so easily has been
a very costly, tedious process, and would be so to us if we had to rely
on personal observation. Voyages and travels therefore are of much
importance in our studies, and delightful reading too. Stanley's
opinions have been much relied on in selecting the following books:--
[274] Voyages. (Eng., 18th cent.)
[275] Cosmos; Travels. (Ger., 1762-1832.)
[276] Naturalist on the Beagle. (Eng., 19th cent.)
[277] Travels. (Venice, 14th cent.)
[278] Arctic Explorations. (U. S., 19th cent.)
[279] South Africa. (Eng., 19th cent.)
[280] Through the Dark Continent; In Darkest Africa. (U. S., 19th cent.)
[281] Travels in Africa. (France, 19th cent.)
[282] On Egypt. (Germany, 19th cent.)
[283] Abyssinia. (Eng., 19th cent.)
[284] India.
[285] Niger.
[286] South America.
[287] Upper Niger.
[288] Persia.
[289] Central Africa.
[290] West Coast of Africa.
[291] Travelled for thirty years, then wrote the marvels he had seen and
heard; and his book became very popular in the 14th and 15th centuries.
(Eng., 14th cent.)
[292] The Nile.
GUIDES.
In this column of "Guides" are placed books that will be useful in
arriving at a fuller knowledge of literature and authors, in determining
what to read, and in our own literary efforts.
[293] "What to Read on the Subject of Reading," by William E. Foster,
Librarian of the Providence Public Library. Every one who is interested
in books should keep an eye on this thorough and enthusiastic worker,
and take advantage of the information he lavishes in his bulletins.
[294] The "Pall Mall Extra," containing Sir John Lubbock's "List of the
Best Hundred Books," and letters from many distinguished men.
[295] English Literature.
[296] English Literature.
[297] "English Literature." The most philosophic work on the subject;
but it is difficult, and requires a previous knowledge of the principal
English authors.
[298] Handbook of Universal Literature.
[299] Dictionary of Authors.
[300] Bartlett's "Familiar Quotations" is one of the most famous and
valuable of books.
[301] "Edge-Tools of Speech." Brief quotations arranged under heads such
as Books, Government, Love, etc.
[302] "Library of Poetry and Song;" but for the general reader
Palgrave's exquisite little "Golden Treasury" is better.
[303] "Primer of English Literature." The best very brief book on the
subject.
[304] Bibliographical Aids.
[305] "Motive and Habit of Reading."
[306] "Choice of Books."
[307] "Sesame and Lilies."
[308] "The Love of Books."
[309] "History of Prose Fiction."
Baldwin's "Book Lover" is valuable for its lists of books bearing on
special topics.
C. K. Adams' "Manual of Historical Literature" is invaluable to the
student of history. There ought to be similar books relating to
Philosophy, Fiction, Science, etc.
MISCELLANEOUS.
In the column "Miscellaneous" are placed a number of books which should
be at least glanced through to open the doors of thought on all sides
and to take such account of their riches as will place them at command
when needed.
[310] One of the noblest little books in existence; to read it is to
pour into the life and character the inspiration of hundreds of the best
and most successful lives. Every page should be carefully read and
digested. (U. S., 19th cent.)
[311] An exquisite book; one of Robert Collyer's early favorites. Put
its beauty in your heart. (U. S., 19th cent.)
[312] A book that should be read for its breadth. (Eng., early 17th
cent.)
[313] Edward Bellamy's "Looking Backward" is one of the same class of
books to which Bacon's "New Atlantis," More's "Utopia," etc., belong,
and may be read with much pleasure and profit along with them. It is
really a looking forward to an ideal commonwealth, in which the labor
troubles and despotisms of to-day shall be adjusted on the same
principle as the political troubles and despotisms of the last century
were settled; namely, the principle that each citizen shall be
industrially the equal of every other, as all are now political equals.
It is a very famous book, and has been called the greatest book of the
century, which, happily for the immortality of Spencer and Darwin,
Carlyle and Ruskin, Parkman and Bancroft, Guizot and Bryce, Goethe and
Hugo, Byron and Burns, Scott and Tennyson, Whittier and Lowell, Bulwer
and Thackeray, Dickens and Eliot, is only the judgment of personal
friendship and blissful ignorance. But while the book cannot feel at
home in the society of the great, it is nevertheless a very entertaining
story, and one vastly stimulative of thought. The idea of a coming
_industrial democracy_, bearing more or less analogy to the political
democracy, the triumph of which we have seen, is one that has probably
occurred to every thoughtful person; and in Bellamy's book may be found
an ingenious expansion of the idea much preferable to the ordinary
socialistic plans of the day, though not wholly free from the injustice
that inheres in all social schemes that do not aim to secure to each man
the wealth or other advantage that his lawful efforts naturally produce.
(U. S., 19th cent.)
[314] Everywhere a favorite. It opens up wide regions of imagination.
Ruskin says he read it many times when he might have been better
employed, and crosses it from his list. But the very fact that he read
the book so often shows that even his deep mind found irresistible
attraction in it. (First introduced into Europe in 17th cent.)
[315] The most colossal lies known to science. (Ger., 18th cent.)
[316] The poem of "Beowulf" should be looked into by all who wish to
know the character of the men from whom we sprang, and therefore realize
the basic elements of our own character. (Eng., early Saxon times.)
[317] Should be glanced at for the light it throws on English history
and development. (9th-12th cents.)
[318] Froissart's "Chronicles" constitute a graphic story of the States
of Europe from 1322 to the end of the 14th century. Scott said that
Froissart was his master. Breadth demands at least a glance at the old
itinerant tale-gatherer. Note especially the great rally of the rebels
of Ghent.
[319] This masterpiece of Old German Minstrelsy is too much neglected by
us. Read it with the three preceding. (Early German.)
[320] _Saga_ means "tale" or "narrative," and is applied in Iceland to
every kind of tradition, true or fabulous. Read the "Heimskringla,"
Njal's Saga, and Grettir's Saga, (9th-13th cents.)
[321] Along with the last should be read the poems of the elder Edda.
(Compiled by Samund the Wise, 12th cent.)
[322] The epic of Spain, containing a wonderful account of the prowess
of a great leader and chief. (Spain, before the 13th cent.)
[323] A collection of fragments about the famous King Arthur and his
Round Table. They crop out in every age of English literature. Read the
book with Tennyson's "Idylls of the King,"--a poem inspired by Malory's
"Morte D'Arthur,"--Cervantes' "Don Quixote," and Twain's "Yankee in the
Court of King Arthur," Lanier's "Boy's King Arthur," Ritson's "Ancient
English Metrical Romances," Ellis' Introduction to the Study of the
same, Preston's "Troubadours and Trouveres," Sismondi's "Literature of
Southern Europe," Chapon's "Troubadours," and Van Laun's "History of
French Literature" may be referred to with advantage by the student of
Malory.
[324] A collection of Chinese odes.
[325] This and the last are recommended, not for intrinsic merit, but
for breadth, and to open the way to an understanding of and sympathy
with four hundred millions of mankind who hold these books in profound
veneration. (China, as early as 5th cent. B. C.)
[326] This is the Bible of the Sufis of Persia, one of the
manifestations of that great spirit of mysticism which flows like a
great current through the world's history, side by side with the stream
of Rationalism. It found certain outlets in Schelling, Swedenborg,
Emerson, etc., and is bubbling up even now through the strata of
worldliness in the United States in the shape of Theosophy. (7th cent.)
[327] Read Saint Hilaire's "Buddha" and Arnold's "Light of Asia." They
will open great regions of thought.
[328] These are epitomized by Talboys Wheeler in his "History of India."
Very interesting and broadening. (Very ancient.)
[330] Not valuable reading intrinsically, but as opening the doors of
communication with the minds and hearts of whole races of men, most
useful. The Vedas are the Bible of the Hindus, and contain the
revelation of Brahma (15th cent.). The Koran is the Mohammedan Bible
(6th cent.). The Talmud belongs to the Rabbinical literature of the
Jews, and is a collection of Jewish traditions (3d cent.).
[333] The works of Hooker, Swedenborg, Newton, Kepler, Copernicus,
Laplace, should be actually _handled_ and _glanced through_ to form a
nucleus of experience, around which may gather a little knowledge of
these famous men and what they did. This remark applies with more or
less of force to all the names on the second shelf. Few can hope to
_read all_ these books, but it is practicable by means of general works,
such as those mentioned in Column 13, to gain an idea of each man, his
character and work; and there is no better way to put a hook in the
memory on which such knowledge of an author may be securely kept, than
to take his book in your hands, note its size and peculiarities (visual
and tactual impressions are more easily remembered than others as a
rule), glance through its contents, and read a passage or two.
SHORT COURSES.
When the reader has a special purpose in view, it is of the greatest
advantage to arrange in systematic order the books that will be most
helpful in the accomplishment of his purpose, study them one after the
other, mark them, compare them, make cross references from one to
another, digest and assimilate the vital portions of each, and seek to
obtain a mastery of all that the best minds of the past have given us in
reference to the object of his effort. For example: a person who has
devoted himself exclusively to one line of ideas will be greatly
benefited by reading a short course of books that will give him a
glimpse of each of the great fields of thought. One who is lacking in
humor should get a good list of fine humorous works and devote himself
to them, and to the society of fun-loving people, until he can see and
enjoy a good joke as keenly as they do,--not only to quicken his
perception of humor, but that the organ of fun (the gland that secretes
wit and humor) may be roused into normal activity. Again, if a gentleman
finds that he does not appreciate Shakspeare, Dante, Irving, etc., as he
sees or is told that literary people do; if he prefers his newspaper to
the English classics as a source of pleasure and profit; if he sees
little difference between Tennyson and Tupper, enjoys Bill Nye as much
or more than Holmes, and is able to compare the verses he writes to his
sweetheart with Milton without any very distinct feeling except perhaps
a disgust for Milton,--if any of these things are true, he has need of a
course to develop a literary taste.
In the three tables following will be found a suggestion of several
important short courses, and others will be found on page 123 _et seq._
TABLE II.
A short special course, to gather _ideas_ of practical importance to
every life, and to make a beginning in the gaining of that _breadth of
mind_ which is of such vital value by reason of its influence on morals
and the aid it gives in the attainment of truth.
1. Physiology and Hygiene. Read and digest the best books. See Table I.
Col. 3.
2. "Our Country," by Strong; the Constitution of the United States; the
Declaration of Independence, and Washington's Farewell. (All m. R. D.)
3. Mill's Logic; at any rate, the Canons of Induction and the Chapter on
Fallacies, (m. R. D. C. G.)
4. Smiles's "Self-Help." (m. R. D.)
5. Wood's books on Natural History; especially his anecdotes of animals,
and evidences of mind, etc., in animals (e. R. D.). Proctor's books on
Astronomy, "Other Worlds than Ours," etc. (e. R. G.). Lubbock's
"Primitive Condition of Man" (m. R.). Dawson's "Chain of Life" (m. R.).
In some good brief way, as by using the "Encyclopaedia Britannica," read
_about_ Copernicus, Galileo, Kepler, Newton, Darwin, Herschel, Lyell,
Harvey, and Torricelli.
6. Spencer's "First Principles." (d. R. D. G.)
7. Green's "Short History of the English People" (m. R. D. G.).
Bancroft's "History of the United States" (m. R. D. G). Guizot's
"History of Civilization" (m. R. D. G.).
8. Max Mueller's philological works, or some of them (m. R.). Taylor's
"Words and Places" (m. R.).
9. In some public library, if the books are not accessible elsewhere,
get into your hands the books named in Columns 12 and 13 of Table I.,
and not already spoken of in this table, and glance through each,
reading a little here and there to make a rapid survey of the ground,
acquire some idea of it, and note the places where it may seem to you
worth while to dig for gold.
TABLE III.
A short course of the choicest selections from the whole field of
general literature. It may easily be read through in a year, and will
form a taste and provide a standard that will enable the reader ever
after to judge for himself of the quality and value of whatever books
may come before the senate of his soul to ask for an appropriation of
his time in their behalf.
Very few books are requisite for this course, but it will awaken a
desire that will demand a library of standard literature. No. 1, No. 2,
etc., refer to the numbers of the "100 Choice Selections." Monroe's
"Sixth Reader" and Palgrave's "Golden Treasury" are also referred to,
because they contain a great number of these gems, and are books likely
to be in the possession of the reader.
For the meaning of the other abbreviations, see the last section of the
Introductory Remarks.
GROUP I.--_Poetry._
[*] in headings denotes "Degree of Difficulty."
+-------------------------------------+-----+----------+---------------+
| | [*] | Manner | |
| | | of | Where found. |
| | | Reading. | |
+-------------------------------------+-----+----------+---------------+
| 1. SHAKSPEARE. | | | |
| | | | |
| Hamlet, especially noting Hamlet's | | | Shakspeare's |
| conversations with the Ghost, | | | Plays are |
| with his mother and Ophelia, his | | | published |
| advice to the players, his | | | separately, |
| soliloquy, and his discourse on | d. | R.D.C.G. | and also |
| the nobleness of man | | | together, |
| Merchant of Venice, especially | | | Richard Grant |
| noting the scene in court, and | | | White's |
| the parts relating to Portia | e. | R.D.C.G. | edition being |
| Julius Caesar, especially noting the | | | the best. |
| speeches of Brutus and Antony, | | | |
| and the quarrel of Brutus and | m. | R.D.C.G. | |
| Cassius | | | |
| Taming of the Shrew | e. | R.G. | |
| Henry the Eighth | m. | R.D. | |
| Henry the Fourth, read for the wit | | | |
| of Falstaff | m. | R.D. | |
| Henry the Fifth, noting especially | | | |
| the wooing | m. | R.D. | |
| Coriolanus, noting especially the | | | |
| grand fire and force and | | | |
| frankness of Coriolanus | m. | R.D.C.G. | |
| Sonnets in Palgrave's Golden | | | |
| Treasury, Nos. 3, 6, 11, 12, 13, | | | |
| 14, 18, 36, 46 | m. | R.D.C. | |
| | | | |
| 2. MILTON. | | | |
| | | | |
| The Opening of the Gates of Hell, | | | |
| one of the sublimest conceptions | | | |
| in literature. It is in Paradise | | | |
| Lost, about six pages from the | | | |
| end of Book II. Read sixty lines | | | |
| beginning, "Thus saying, from her | | | |
| side the fatal key, Sad | | | |
| instrument of all our woe" | d. | R.D.G. | Milton's |
| Satan's Throne, ten lines at the | | | Poems. |
| beginning of Book II. | m. | R.D.G. | |
| Opening of Paradise Lost, 26 lines | | | |
| at the beginning of Book I. | m. | R.D.G. | |
| The Angels uprooting the Mountains | | | |
| and hurling them on the Rebels. | | | |
| Fifty lines beginning about the | | | |
| 640th line of Book VI., "So they | | | |
| in pleasant vein," etc. | m. | R.D.G. | |
| "Hail, Holy Light," fifty-five | | | |
| lines at the beginning of Book | m. | R.D.G. | |
| III. | | | |
| Comus, a masque, and one of the | | | |
| masterpieces of English | d. | R.D.C.G. | Milton's |
| literature | | | Poems. |
| L' Allegro, a short poem on mirth | d. | R.D.C.G. | The last |
| Il Penseroso, a short poem | | | three of this |
| on melancholy | d. | R.D.C.G. | list are in |
| Lycidas, a celebrated elegy | d. | R.G. | Palgrave. |
| | | | |
| 3. HOMER. | | | |
| | | | |
| | | | Homer has had |
| | | | many |
| Pope's translation. At least the | | | translators, |
| first book of the Iliad. A | | | Pope, Derby, |
| simple, clear story of battles | | | Worsley, |
| and quarrels, and counsels, | | | Chapman, |
| charming in its sublimity, | | | Flaxman, |
| pathos, vigor, and naturalness. | | | Lang, Bryant, |
| The world's greatest epic | e. | R.D.C.G. | etc. |
| | | | |
| 4. AESCHYLUS. | | | |
| | | | Potter, |
| | | | Morshead, |
| Prometheus Bound, the sublimest of | | | Swanwick, |
| the sublime. Be sure to reach and | | | Milman, and |
| grasp the grand picture of the | | | Browning have |
| human race and its troubles which | | | translated |
| underlies this most magnificent | | | AEschylus. The |
| poem | d. | R.D.C.G. | first two are |
| Agamemnon, the grandest tragedy | | | the best. |
| in the world | m. | R.D.G. | Flaxman's |
| | | | designs add |
| | | | much. |
| | | | |
| 5. DANTE. | | | |
| | | | |
| Divine Comedy. Read Farrar's little | | | Translated by |
| Life of Dante (John Alden, | | | Longfellow, |
| N. Y.), and then take the Comedy | | | Carey, John |
| and read the thirty-third canto, | | | Carlyle, |
| the portions relating to the | | | Butler, and |
| Hells of Incontinence and of | | | Dean Church. |
| Fraud, thepicture of Satan, and | | | |
| the whole of the Purgatorio | d. | R.D.G. | |
| | | | |
| 6. SPENSER. | | | |
| | | | |
| Faerie Queen, noting specially the | | | |
| first book and the book of | | | |
| Britomart, endeavoring to grasp | | | |
| and apply to your own life the | | | |
| truths that underlie the rich and | | | |
| beautiful imagery | d. | R.D.G. | Spenser's |
| Hymn in Honor of his own Wedding | d. | R.D.G. | Poems. The |
| Fable of the Oak and the Briar, in | | | Calendar is |
| Shepherd's Calendar, February | m. | R. | published |
| | | | separately. |
| | | | |
| 7. SCOTT. | | | |
| | | | |
| Lady of the Lake | e. | R. | Scott's Poems,|
| Marmion | e. | R. | or separate. |
+-------------------------------------+-----+----------+---------------+
+---------------------------------------------------------+
| Transcriber's note: Numbers 8 and 9 are missing in the |
| original. |
+---------------------------------------------------------+
GROUP II.--_Short Poetical Selections._
+-------------------------------------+-----+----------+---------------+
| | | Manner | |
| | [*] | of | Where found. |
| | | Reading. | |
+-------------------------------------+-----+----------+---------------+
| 10. PAYNE. | | | |
| Home, Sweet Home | e. | C. | |
| | | | |
| LONGFELLOW. | | | |
| Psalm of Life. | | R.D.C. | Longfellow's |
| Paul Revere's Ride | | | Poems. |
| The Building of the Ship | e. | R. | |
| (These may be found in most | | | |
| of the reading-books.) | e. | | |
| Suspiria, and the close of | | | |
| Morituri Salutamus | m. | R.D. | |
| | | | |
| HOLMES. | | | |
| Nautilus; the last stanza | | | Autocrat of |
| commit | m. | R.D. | the |
| The Stars and Flowers, a | | | Breakfast- |
| lovely little poem,--the | | | Table. |
| first verses in the | | | |
| Autocrat of the | | | |
| Breakfast-Table | e. | R.D. | |
| | | | |
| HUNT. | | | |
| Abou Ben Adhem | e. | R.D. | Monroe. |
| | | | |
| CAREW. | | | |
| The True Beauty | e. | R.D. | Palgrave, 87. |
| | | | |
| GRAY. | | | |
| Elegy in a Country Churchyard | m. | R.D.C. | " 147. |
| Hymn to Adversity | m. | R.D. | " 159. |
| Progress of Poesy | m. | R.D. | " 140. |
| The Bard | m. | R.D. | " 123. |
| | | | |
| SAXE. | | | |
| The Blind Men and the Elephant| e. | R.D. | No. 4. |
| | | | |
| JACKSON. | | | Poems of |
| The Release | m. | R.D. | H. H. Jackson.|
| | | | |
| 11. HOOD. | | | |
| Bridge of Sighs | m. | R.D. | Palgrave, 231.|
| Song of the Shirt | e. | R.D. | No. 2. |
| | | | |
| BURNS. | | | |
| Ye Banks and Braes o' Bonnie | | | |
| Doon | e. | R.D. | Palgrave, 139.|
| To a Field-mouse | e. | R.D. | " 144.|
| Mary Morrison | e. | R.D. | " 148.|
| Bonnie Lesley | e. | R.D. | " 149.|
| Jean | e. | R.D. | " 155.|
| John Anderson | e. | R.D. | " 156.|
| A Man's a Man for a' that | e. | R.D. | Burns's Poems.|
| Auld Lang Syne | e. | R.D. | |
| Robert Bruce's Address to his | | | |
| Army | e. | R.D. | |
| | | | |
| MOORE. | | | |
| The Light of other Days | e. | R.D. | Palgrave, 225.|
| Come rest in this Bosom | e. | R.D. | Irish Melodies|
| At the Mid Hour of Night | e. | R.D. | Irish Melodies|
| Those Evening Bells | e. | R.D. | Monroe. |
| | | | |
| COLERIDGE. | | | |
| Rime of the Ancient Mariner | d. | R.D.G. | Coleridge's |
| Kubla Khan; a Picture of the | | | Poems. |
| Stream of Life | d. | R.D.G. | |
| Vale of Chamouni | e. | R. | Monroe. |
| | | | |
| WHITTIER. | | | |
| The Farmer's Wooing, in Among | | | |
| the Hills | m. | R.D.C. | Whittier's |
| The Harp at Nature's Advent | | | Poems. |
| Strung, etc., in Tent on | | | |
| the Beach | m. | R.D.C. | |
| Snow Bound, Centennial Hymn | | | |
| (No. 13), and at least | | | |
| glance athis Voices of | | | |
| Freedom | m. | R.D.C. | |
| Barefoot Boy | e. | R.D.C. | |
| | | | |
| TENNYSON. | | | |
| "Break, break, break, on thy | | | Tennyson's |
| cold gray Stones, O Sea" | m. | R.D.C. | Poems. |
| "Ring out, wild Bells," in | | | |
| the In Memoriam | m. | R.D.C. | |
| Bugle Song, in The Princess | m. | R.D.C. | No. 2. |
| Charge of the Light Brigade | e. | R.D.C. | No. 2. |
| The Brook | e. | R.D.C. | Monroe. |
| | | | |
| CHAUCER. | | | |
| The Clerk's Tale, or the | | | |
| Story of Grisilde, in the | | | Chaucer's |
| Canterbury Tales | m. | R. | Poems. |
| | | | |
| 12. KEY. | | | |
| The Star-Spangled Banner | e. | C. | No. 4. |
| | | | |
| DRAKE. | | | |
| The American Flag | e. | R. | No. 1. |
| | | | |
| SMITH. | | | |
| "My Country, 'tis of thee" | e. | C. | |
| | | | |
| BOKER. | | | |
| The Black Regiment | e. | R. | No. 1. |
| | | | |
| CAMPBELL, | | | |
| full of fire | | | |
| and martial music. | | | |
| Ye Mariners of England | m. | R.D.C. | Palgrave, 206.|
| Battle of the Baltic | m. | R.C. | " 207.|
| Soldier's Dream | m. | R.C. | " 267.|
| Hohenlinden | m. | R.C. | " 215.|
| Lord Ullin's Daughter | m. | R.C. | " 181.|
| Love's Beginning | m. | R.C. | " 183.|
| Ode to Winter | m. | R.C. | " 256.|
| | | | |
| THOMSON. | | | |
| Rule Britannia | m. | R.C. | Palgrave, 122.|
| | | | |
| LOWELL. | | | |
| The Crisis | d. | R.D.C.G. | Lowell's |
| Harvard Commemoration Ode | d. | R.D.C.G. | Poems. |
| The Fountain | e. | R.D.C.G. | |
| | | | |
| HALLECK. | | | |
| Marco Bozzaris | e. | R. | No. 1. |
| | | | |
| MACAULAY. | | | |
| Lays of Ancient Rome, | | | |
| especially Horatius, and | e. | R.D. | No. 2. |
| Virginia, also the Battle of | | | |
| Ivry | m. | R.D. | No. 5. |
| | | | |
| O'HARA. | | | |
| The Bivouac of the Dead | | | |
| | | | |
| MITFORD. | | | |
| Rienzi's Address | m. | R. | No. 1. |
| | | | |
| CROLY. | | | |
| Belshazzar | m. | R. | No. 4. |
| | | | |
| 13. SHELLEY. | | | Shelley's |
| | | | Poems. |
| Ode to the West Wind | m. | R.D.C. | Palgrave, 275.|
| Ode to a Skylark | m. | R.D.C. | " 241.|
| To a Lady with a Guitar | m. | R.D.C. | " 252.|
| Italy | m. | R.D.C. | " 274.|
| Naples | m. | R.D.C. | " 227.|
| The Poet's Dream | d. | R.D.C. | " 277.|
| The Cloud, Sensitive Plant, | | | |
| etc. | m. | R.D.C. | |
| | | | |
| BYRON. | | | Byron's Poems.|
| All for Love | m. | R.D. | Palgrave, 169.|
| Beauty | m. | R.D. | " 171.|
| Apostrophe to the Ocean, and | | | |
| The Eve of Waterloo | m. | R.D.C. | Monroe. |
| The Field of Waterloo | m. | R.D.C. | No. 1. |
| (These are among the most | | | |
| magnificent poems in any | | | |
| language.) | | | |
| | | | |
| BRYANT. | | | |
| Thanatopsis | m. | R.C.G. | No. 1. |
| | | | |
| PRENTICE. | | | |
| The Closing Year | m. | R.C.G. | No. 1. |
| | | | |
| POE. | | | |
| The Bells; The Raven | m. | R.C.G. | No. 1. |
| Annabel Lee | m. | R. | No. 5. |
| | | | |
| KEATS. | | | Keats's Poems.|
| The Star | m. | R. | Palgrave, 198.|
| Ode to a Nightingale | m. | R. | " 244.|
| Ode to Autumn | m. | R. | " 255.|
| Ode on the Poets | m. | R. | " 167.|
| | | | |
| WORDSWORTH. | | | |
| A Beautiful Woman | e. | R.C. | Palgrave, 174.|
| The Reaper | m. | R. | " 250.|
| Simon Lee | m. | R. | " 219.|
| Intimations of Immortality | | | " 367.|
| | | | |
| HERBERT. | | | |
| Gifts of God | e. | R.D.C. | " 74.|
| | | | |
| READ. | | | |
| Drifting | m. | R.D.C. | No. 1. |
| Sheridan's Ride | e. | R. | " |
| | | | |
| FLETCHER. | | | |
| Melancholy | e. | R. | Palgrave, 104.|
| | | | |
| POPE. | | | |
| Rape of the Lock | m. | R. | Pope's Poems. |
| | | | |
| 14. INGELOW. | | | |
| The Brides of Enderby | m. | R. | No. 2. |
| High Tide, etc. | | | |
| | | | |
| COWPER. | | | |
| Loss of the Royal George | e. | R. | Palgrave, 129.|
| Solitude of Selkirk | m. | R. | " 160.|
| | | | |
| DRYDEN. | | | |
| Alexander's Feast | d. | R. | " 116.|
| | | | |
| COLLINS. | | | |
| The Passions | d. | R. | " 141.|
| | | | |
| JONSON. | | | |
| Hymn to Diana | m. | R. | " 78.|
| | | | |
| ADDISON. | | | |
| Cato's Soliloquy | m. | R. | No. 1. |
| | | | |
| LODGE. | | | |
| Rosaline | m. | R. | Palgrave, 16.|
| | | | |
| HERRICK. | | | |
| Counsel to Girls | e. | R. | " 82.|
| The Poetry of Dress | e. | R. | " 92.|
| | | | |
| 15. GOETHE. | | | |
| Raphael Chorus,--a wonderful | | | |
| chorus of three stanzas in | | | |
| Faust. Read Shelley's | | | |
| translations, both literal | | | |
| and free, in his Fragments | m. | R.C.G. | Shelley's |
| | | | Poems. |
| OMAR KHAYYAM. | | | |
| Rubaiyat, especially the | | | |
| "moving shadow-shape" and the | | | |
| "phantom caravan" stanzas, | | | |
| for their magnificent imagery | m. | R.C.G. | Fitzgerald's |
| | | | Translation. |
| EURIPIDES. | | | |
| Chorus in Medea--Campbell's | | | |
| translation | m. | R.C.G. | Campbell's |
| | | | Poems. |
| | | | |
| CALDERON. | | | |
| Read Shelley's Fragments | m. | R.C.G. | Shelley's |
| | | | Poems. |
| SCHILLER. | | | Schiller's |
| The Battle | m. | R. | Poems. No. 4. |
| The Song of the Bell | m. | R. | Publ. |
| | | | separately. |
| MOLIERE. | | | |
| Tartuffe, or The Hypocrite | e. | R.D. | Moliere's |
| Le Misanthrope, or The | | | Plays. |
| Man-Hater | e. | R.D. | |
+-------------------------------------+-----+----------+---------------+
GROUP III.--_Short Prose Selections._
+-------------------------------------+-----+----------+---------------+
| | | Manner | |
| | [*] | of | Where found. |
| | | Reading. | |
+-------------------------------------+-----+----------+---------------+
| | | | |
| 16. LINCOLN. | | | |
| Gettysburg Oration. Famous | | | |
| for its calm, clear, simple | | | |
| beauty, breadth, and power | m. | R.C. | No. 2. |
| | | | |
| IRVING | | | |
| our greatest | | | |
| master of style; | | | |
| his prose is poetry. | | | |
| Rip Van Winkle | e. | R.D.C. | Sketch Book. |
| The Spectre Bridegroom | e. | R.D.C. | " " |
| The Art of Book-Making | e. | R.D.C. | " " |
| The Legend of Sleepy Hollow | e. | R.D.C. | " " |
| | | | |
| 17. BACON. | | | |
| Essay on Studies. Note the | | | |
| clearness and completeness | | | |
| of Bacon, and his tremendous| | | |
| condensation of thought | m. | R.D.C. | Bacon's |
| | | | Essays. |
| CARLYLE. | | | |
| Apostrophe to Columbus, p. | | | |
| 193 of Past and Present,-- | | | |
| Carlyle's finest passage | m. | R.D.C. | |
| Await the Issue | m. | R.D.C. | Monroe. |
| The account of the | | | |
| conversational powers of | | | |
| Coleridge, given in | | | |
| Carlyle's Life of Sterling | e. | R.D.C. | |
| | | | |
| 18. WEBSTER. | | | |
| Liberty and Union,--a | | | |
| selection from the answer to| | | |
| Hayne in the United States | | | |
| Senate, on the question of | | | |
| the power of a State to | | | |
| nullify the acts of | | | |
| Congress, and to withdraw | | | |
| from the Union,--the | | | |
| greatest of American | | | |
| orations, and worthy to | | | |
| rank side by side with the | | | |
| world's best | m. | R.D.C. | No. 1. |
| | | | |
| PHILLIPS. | | | |
| Comparison of Toussaint | | | |
| L'Ouverture with Napoleon, | | | Phillips's |
| in his oration on Toussaint | m. | R.D.C. | Speeches. |
| | | | |
| 19. EVERETT. | | | |
| Discoveries of Galileo | m. | R. | No. 1. |
| | | | |
| BURRITT. | | | |
| One Niche the Highest | e. | R. | No. 7. |
| | | | |
| 20. HUGO. | | | |
| The Monster Cannon, one of | | | |
| the great Frenchman's master| | | |
| strokes,--a very thrilling | | | |
| scene, splendidly painted | e. | R. | No. 11. |
| Rome and Carthage | m. | R. | No. 6. |
| | | | |
| DE QUINCEY. | | | |
| Noble Revenge | m. | R. | No. 7. |
| | | | |
| 21. POE. | | | |
| Murders in the Rue Morgue | d. | R. | Little |
| | | | Classics. |
| INGERSOLL. | | | |
| Oration at the funeral of his | | | Ingersoll's |
| brother | m. | R. | Prose Poems. |
| | | | |
| 22. SCOTT. | | | |
| Thirty-sixth chapter of the | | | |
| Heart of Midlothian | m. | R. | |
| | | | |
| CURTIS. | | | |
| Nations and Humanity | m. | R. | No. 11. |
| | | | |
| 23. TAYLOR. | | | |
| The sections on Temperance | | | |
| and Chastity in the Holy | | | |
| Living and Dying | m. | R.D. | |
| | | | |
| BROOKS. | | | |
| Pamphlet on Tolerance,--the | | | |
| best book in the world on a | | | |
| most vital subject | m. | R.D. | |
+-------------------------------------+-----+----------+---------------+
GROUP IV.--_Wit and Humor_--_Short List._
+-------------------------------------+-----+----------+---------------+
| | | Manner | |
| | [*] | of | Where found. |
| | | Reading. | |
+-------------------------------------+-----+----------+---------------+
| | | | |
| 24. LOWELL. | | | |
| Biglow Papers | e. | R.D. | Lowell's |
| Fable for Critics | d. | R.D. | Poems. |
| The Courtin' | e. | R.D. | |
| | | | |
| HOLMES. | | | |
| Autocrat of the | | | |
| Breakfast-Table | m. | R.D. | |
| | | | |
| 25. CARLETON. | | | |
| Farm Ballads, especially the | | | |
| Visit of the School | | | |
| Committee, and The Rivals | e. | S. | |
| | | | |
| STOWE. | | | |
| Laughin' in Meetin' | e. | S. | No. 11. |
| | | | |
| TWAIN. | | | |
| On New England Weather | e. | S. | No. 13. |
| European Guides, and | | | Innocents |
| Turkish Baths | e. | S. | Abroad. |
| | | | |
| 26. DICKENS. | | | |
| Pickwick Papers | e. | S. | |
| | | | |
| JAMES DE MILLE. | | | Cumnock's |
| A Senator Entangled | e. | S. | Choice |
| | | | Readings. |
| LOVER. | | | |
| The Gridiron | e. | S. | " " |
| | | | |
| WHATELY. | | | |
| Historic Doubts regarding | | | Publ. |
| Napoleon | e. | S. | separately. |
+-------------------------------------+-----+----------+---------------+
TABLE IV.
SUPPLEMENTARY GENERAL READING.
In addition to the short courses set forth in Tables II. and III., at
the same time, if the reader has a sufficiency of spare hours, but
always in subordination to the above courses, it is recommended that
attention be given to the following books:--
Bunyan's Pilgrim's Progress. (e. R. D.)
Defoe's Robinson Crusoe. (e. S.)
Dickens' Christmas Carol (m. R. D.); Cricket on the Hearth. (m. R. D.)
Ruskin's Crown of Wild Olive (m. R. D.); Ethics of the Dust (m. R. D.);
Sesame and Lilies. (m. R. D.)
Emerson's Essays (d. R. D. C.); especially those on Manners, Gifts,
Love, Friendship, The Poet, and on Representative Men.
Demosthenes on the Crown. (m. R. D. C. G.)
Burke's Warren Hastings Oration. (m. R. D. C. G.)
Phillips' Speeches on Lovejoy and Garrison. (m. R. D. C. G.)
La Fontaine's Fables. (m. R. D.)
Short Biographies of the World's Hundred Greatest Men. (m. R. D.)
Marshall's Life of Washington. (m. R. D. G.)
Carlyle's Cromwell. (m. R. D. G.)
Tennyson's In Memoriam. (d. R. D. C.)
Byron's Childe Harold. (m. R. D. C.)
Burns' Cotter's Saturday Night. (m. R. D.)
Keats' Endymion. (d. R. D. C.)
Shelley's Prometheus Unbound. (d. R. D. C. G.)
Campbell's Pleasures of Hope. (m. R. D. C.)
Goldsmith's Deserted Village. (m. R. D. C.)
Pope's Essay on Man. (m. R. D. C.)
Thomson's Seasons. (m. R. D. C.)
CHILDREN.
So far we have spoken of reading for grown people. Now we must deal with
the reading of young folks,--a subject of the utmost importance. For to
give a child good habits of reading, to make him like to read and master
strong, pure books,--books filled with wisdom and beauty,--and equally
eager to shun bad books, is to do for him and the world a service of the
highest possible character; and to neglect the right care of a child in
this matter is to do him an injury far greater than to mutilate his face
or cut off his arm.
WHAT TO GIVE THE CHILDREN.
Parents, teachers, and others interested in the welfare of young people
have not only to solve the problem of selecting books for their own
nourishment, but also the more difficult problem of providing the young
folks with appropriate literary food. As literature may be made one of
the most powerful influences in the development of a child, the greatest
care should be taken to make the influence true, pure, and tender, and
give it in every respect the highest possible character, which requires
as much care to see that bad books do not come into the child's
possession and use, as to see that good books do. The ability to read
adds to life a wonderful power, but it is a power for evil as well as
good. As Lowell says, "It is the key which admits us to the whole world
of thought and fancy and imagination,--to the company of saint and sage,
of the wisest and wittiest at their wisest and wittiest moments. It
enables us to see with the keenest eyes, hear with the finest ears, and
listen to the sweetest voices of all time. More than that, it
annihilates time and space for us,--reviving without a miracle the Age
of Wonder, and endowing us with the shoes of swiftness and the cap of
darkness." Yes, but it opens our minds to the thoughts of the vile as
well as to those of the virtuous; it unlocks the prisons and haunts of
vice as well as the school and the church; it drags us through the sewer
as well as gives us admission to the palace; it feeds us on filth as
well as the finest food; it pours upon our souls the deepest degradation
as well as the spirit of divinity. Parents will do well to keep from
their children such books as Richardson's "Pamela" and "Clarissa
Harlowe;" Fielding's "Joseph Andrews," "Jonathan Wild," and "Tom Jones;"
Smollett's "Humphrey Clinker," "Peregrine Pickle," and "Adventures of an
Atom;" Sterne's "Tristram Shandy;" Swift's "Gulliver," and their modern
relatives. Many of these coarse pictures of depravity and microscopic
analyses of filth I cannot read without feeling insulted by their
vulgarity, as I do when some one tells an indecent story in my presence.
Whatever the power or wit of a book, if its motive is not high and its
expression lofty, it should not come into contact with any life, at
least until its character is fixed and hardened in the mould of virtue
beyond the period of plasticity that might receive the imprint of the
badness in the book. There are plenty of splendid books that are pure
and ennobling as well as strong and humorous,--more of them than any one
person can ever read,--so that there is no necessity of contact with
imperfect literature. If a boy comes into possession of a book that he
would not like to read aloud to his mother or sister, he has something
that is not good for him to read,--something that is not altogether the
very best for anybody to read. Some liberty of choice, however, ought to
be allowed the children. It will add much to the vigor and enthusiasm of
a boy's reading if, instead of prescribing the precise volume he is to
have at each step, he is permitted to make his own selection from a list
of three or four chosen by the person who is guiding him. What these
three or four should be, is the problem. I cannot agree with Lowell,
when he says that young people ought to "confine themselves to the
supreme books in whatever literature, or, still better, choose some one
great author and make themselves thoroughly familiar with him." It is
possible to know something of people in general about me without
neglecting my best friends. It is possible to enjoy the society of
Shakspeare, Goethe, AEschylus, Dante, Homer, Plato, Spencer, Scott,
Eliot, Marcus Aurelius, and Irving, without remaining in ignorance of
the power and beauty to be found in Chaucer, Spenser, Milton, Byron,
Burns, Goldsmith, Keats, Shelley, Tennyson, Longfellow, Whittier,
Holmes, and Lowell, Ingersoll, Omar, Arnold, Brooks, and Robertson,
Curtis, Aldrich, Warner, Jewett, Burroughs, Bulwer, Tourgee, Hearn,
Kingsley, MacDonald, Hawthorne, Dickens, Thackeray, Carlyle, Ruskin,
Hugo, Bronte, Sienkiewicz, and a host of others. Scarcely a day passes
that I do not spend a little time with Shakspeare, Goethe, AEschylus,
Spencer, and Irving; but I should be sorry to have any one of those I
have named beyond call at any time. There are parts of Holmes, Lowell,
Brooks, Emerson, Omar, Arnold, Tourgee, and Hearn that are as dear to me
as any passages of equal size in Goethe or Irving. So it does not seem
best to me to _confine_ the attention to the supreme books; a just
_proportion_ is the true rule. Let the supreme books have the supreme
attention, absorb them, print them on the brain, carry them about in the
heart, but give a due share of time to other books. I like the
suggestion of Marietta Holley: "I would feed children with little sweet
crumbs of the best of books, and teach them that a whole rich feast
awaited them in the full pages," only taking care in each instance that
the crumb is well rounded, the picture not torn or distorted. There are
paragraphs and pages in many works of the second rank that are equal to
almost anything in the supreme books, and superior to much the latter
contain. These passages should be sought and cherished; and the work of
condensing the thought and beauty of literature--making a sort of
literary prayer-book--is an undertaking that ought not to be much longer
delayed. Until it is done, however, there is no way but to read widely,
adapting the speed and care to the value of the volume. Some things may
be best read by deputy, as Mark Twain climbed the Alps by agent;
newspapers, for example, and many of the novels that flame up like a
haystack on fire, and fade like a meteor in its fall, striking the earth
never to rise again. The time that many a young man spends upon
newspapers would be sufficient to make him familiar with a dozen
undying books every year. Newspapers are not to be despised, but they
should not be allowed to crowd out more important things. I keep track
of the progress of events by reading the "Outlook" in the "Christian
Union" every week, and glancing at the head-lines of the "Herald" or
"Journal," reading a little of anything specially important, or getting
an abstract from a friend who always reads the paper. A good way to
economize time is for a number of friends to take the same paper, the
first page being allotted to one, the second to another, and so on, each
vocally informing the others of the substance of his page. If time
cannot be found for both the newspaper and the classic, the former, not
the latter, should receive the neglect.
This matter of the use of time is one concerning which parents should
strive to give their children good habits from the first. If you teach a
child to economize time, and fill him with a love of good books, you
ensure him an education far beyond anything he can get in the
university,--an education that will cease only with his life. The
creation of a habit of industrious study of books that will improve the
character, develop the powers, and store the mind with force and
beauty,--that is the great object.
A good example is the best teacher. It is well for parents to keep close
to the child until he grows old enough to learn how to determine for
himself what he should read (which usually is not before fifteen or
twenty, and in many cases never); for children, and grown folks too for
that matter, crave intellectual as much as they do physical
companionship.
The methods of guiding the young in the paths of literature fall
naturally into two groups,--the first being adapted to childhood not yet
arrived at the power of reading alone, the second adapted to later
years. There is no sharp line of division or exclusion, but only a
general separation; for the methods peculiarly appropriate to each
period apply to some extent in the other. Some children are able to read
weighty books at three or four years of age, but most boys and girls
have to plod along till they are eight or ten before they can read much
alone. I will consider the periods of child life I have referred to,
each by itself.
=The Age of Stories=.--It is not necessary or pr
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