reader should understand and feel what he is reading. But the It follows, then, quite naturally that, if our reading books are to be used for lessons in the art of reading, they should consist of selections of the very best models in prose and poetry which the language affords; graduated, of course, to suit the age of the learner. Beyond dispute, the two best English books of this character are the authorised version of the Bible, and the Plays of Shakspere. Religious feeling is very naturally opposed to turning the former into a mere reading book. The latter, therefore, remains as the one best model suited to our purpose; and it is of this that I have made use in the following pages. I have selected all those plays which are likely to interest the young, and which are fitted by the nature of their contents for their study; and knowing, as I do by practical experience, that the young are not capable of long sustained attention, I have so far abridged each play that it need not occupy more than two lessons. I am quite aware that for those of us of elder growth, and more cultured understanding, the plays have in this way lost many of their beauties and much of their scope; but I know, and again by practical experience, that the omission of all minor matters, and the shortening of some long speeches, not only do not lessen the interest of the plays for our pupils, but even to a great extent increase that interest by enabling them more easily and more readily to gain a clear and vivid impression of what they are reading. As a further guide to both pupil and teacher, I have, in all doubtful passages, marked those words which require emphasis (), and those syllables which require accent ('), in order that the eye may be more readily able to give the reader some help. With regard to tone, I have found it necessary to trust entirely to the feeling of the teacher and the pupil. I may add that the book, as it stands, is thoroughly adapted for public readings and school theatricals. October, 1881. 'H. COURTHOPE BOWEN. Athens. QUINCE's house. Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and Quin. Is all our company here ? Bot. You were best to call them generally, man by man, according to the scrip. Quin. Here is the scroll of every man's name which is thought fit, through all Athens, to play in our interlude before the duke and the duchess on his wedding-day at night. Bot. First, good Peter Quince, say what the play treats on, then read the names of the actors, and so grow to a point. Quin. Marry, our play is, The most lamentable comedy and most cruel death of Pyramus and Thisby. 10 Bot. A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves. Quin. Answer as I call you. Nick Bottom, the weaver. B Quin. You, Nick Bottom, are set down for Pyramus. Quin. A lover, that kills himself most gallant for love. Bot. That will ask some tears in the true performing of it: if I do it, let the audience look to their eyes; yet my chief humour is for a tyrant: I could play Ercles rarely: The raging rocks, 21 Shall shine from far, And make and mar The foolish Fates. This was lofty! Now name the rest of the players. This is Ercles' vein, a tyrant's vein; a lover is more condoling. 31 Quin. Francis Flute, the bellows-mender, you must take Thisby on you. Flu. What is Thisby ? a wandering knight? Quin. It is the lady that Pyramus must love. Flu. Nay, faith, let not me play a woman; I have a beard coming. Quin. That's all one: you shall play it in a mask, and you |