Salem State University - Clipper Yearbook

Page 19 text:

ff, , . Exit! 1 fir ,..S'-' fi , ---L. - . 5 Q fn fi f X f fl f' lf, -v fs' .Pc C . f f TVw fm V' I Wk 'f , ' 74 in NN 1 ' ln- . 1 X ,N -f f lb frft tv rL?N ff? Z -- V pkg fig- gg , gi -ll! ,i f , X .N S-f - fl ll I Z ,f 'qi ZQJQ grfff- A I al 2i. E'--ff?-3, -fm LEAlQIN'THE'DlltE . Dramatization forms a very important part of the language Work, especially in the lower grades. In the first grade, the children dramatize orally rhymes in reading, fables, and other graphic stories. The story is read to them, and then the children are chosen to represent the characters. Children very readily enter into the spirit of the story, and act out the parts with considerable originality, with only a little guidance on the part of the teacher. The work continues throughout the year with longer stories and more characters. In the second and third grades, pictures are introduced as a basis for original com- position. Before allowing the children to make up a conversation suggested by a picture, the teacher must interest them in the picture by asking questions which will suggest a story. The conversation may be cooperative work written on the board by the teacher. Thus with oral training in dramatizing stories, and making up stories in form of conversations from pictures as a basis, a class in the fourth or fifth grade may put a story into simple dramatic form. In a simple selection like t'The Leak in the Dikev, it is necessary iirst to get the setting of the story. For instance, the children need to know what dikes are, why they are necessary, and the responsibility each person feels in pro- tecting the country from destruction by the ocean. After getting the setting, the teacher should read the story to the children. When the main thought is familiar, it is necessary to discuss the characters, the divisions of the story into parts to represent the scenes, and the setting of each scene. The children are then ready to make up the conversation together. The following might be what the children would produce. H. E. S. 15

Page 18 text:

Miserere There was a gloom cast o'er our classg We Seniors were in sorrow. Our groans were loud, our sighs were deep At thoughts of each tomorrow. For we were sailing troubled seasg Our crafts were hard to mang Our course lay through the rocks and reefs Of the shorthand lesson-plan. The chart was thus mapped out for us: The aim you first defineg Then down the center of the page You draw a bold black line. Instructions follow quite minute: Begin them with reviewg Then when you're sure they've mastered that, Just give them something new. We steered our course by broad moonlight Through many a curve and angle , But midst the '4l1ooks we sailors bold Were caught in hopeless tangle. By perseverance we emerged In somewhat worse oonditiong When cruel fate laid hold of us In the gulf-stream of position, Soon half-lengths brought us choppy seas. We murmured Sink or Swim g But no fear was in the Captain's heart And we owe our lives bo him. But Senior patience suffereth long, Eternal is our sorrowg ' For now we've mastered Benn Pitman, We've other woes to borrow. L. E. O 14

Page 20 text:

The Leak in the Dike SCENE I. Scene: Dutch interior. At one side of the room is a table covered with a white cloth. At the opposite side is a large old-fashioned fireplace with shining andirons. A box with a few logs in it stands near the fireplace. Mother, dressed in simple Dutch costume, is scrubbing a pan which already shines like silver. Children's voices heard playing outside. Mother fputting the pan into the cupboardj: There! that's the last of those pans scrubbed and put away. It's getting late, and I want Peter to take those cakes to Blind William before dark. fGoing to the doorj: Peter! Peter! Peter Canswering outsidej: Yes, Mother, I'm coming. it QEnter Peter, breathlesslyj. Peter: Oh, mother, We've been having such a good time! I just- Mother: Yes, yes, Peterkin! But I want you to go now to the old blind rnan's hut, and take these cakes. He must be very lonely down there all alone. Peter: He never sees the storks flying overhead, and he never sees the flowers. I think he must be very lonely. Mother fgiving him the cakesj: Here they are. You must hurry, for I want you to get back before dark. Peter: Why, Mother, I'm not afraid no matter how dark it is. But I'll hurry. Good-bye. Exit Peter. Mother Qwatching him from the windowj : He is a good boy, and I know he will do as I wish. QCurtainj. SCENE II. Scene: The interior of the hut of the blind man. Furniture, a table and a chair. The old man sitting at the table, leaning heavily upon his cane in front of him. A violin lies on the table. Blind Man: It is so lonely here! No one has passed the hut today. I'xn glad I have my violin to keep ine from being lonely all the time. tHe touches the instrument lovingly as he speaksj CA whistle is heard outside.j Blind Man: llark! Some one is coming. I wonder who it can be! flinter Peter joyouslyj l'ttter: llullo, Uncle. Guess what l've brought for you. lilinfl Man Cgentlyj: Oh! it's Peterkin, is it? I d0n't know, 1,111 51116. I think it's n flower. l'eter ftlaneiug joyously about the roomj: No, better than that. Try again. lilind Klan: I guess it's a glass of jelly from your mother. l'eter: Wrong again. lt's better even than that. lilinfl Man tatleetionatelyj: l guess it is just yourself you've brought. l't-ter: Ulu, no! it's a great fleal better than that. lt's some little cakes m0tl10r made. lilinfl Klan: lleaven bless your mother! She is an angel. flie takes the cakes and tonehea them gently with his llIlgt!l'H.J Peter: Let, me put them away for yon. tlle puts thc cakes into the cupboardj. Oh, 16