THE STUDY OF "MACBETH" How I conceive the study of poetry may be managed in school-work I have already indicated somewhat fully, but one concrete example is often worth a dozen abstract statements. In the literary work of almost every high school is now included the study of at least one Shakespearean play, and as "Macbeth" is so generally selected as the one to be first taken up, I have chosen that as an illustration. The study of any play, as I have said, should begin with a requirement that the class master the vocabulary. The pupils should be made to understand that the need of doing this is precisely the same as the need of learning common speech for the sake of comprehending the talk of every-day life, or of mastering the vocabulary of French before going to the theatre to hear a play in that language. The scholars should be told frankly that this will not be particularly easy work, but that it is to be taken in the same spirit that one learned the multiplication-table. No harm can come of letting the class expect this part of the work to be full harder than it really is, and at least it is well to have students understand that they are expected to labor to fit themselves for the enjoyment of literature. In this preparation the aim is to make it possible for the readers to go on with the text without important interruptions. This purpose determines what words and passages shall be taken up. Some difficulties may safely and wisely be left for the second reading of the play, and as it is well in these days not to expect too much of the industry of youth, the teacher will do well to keep the list of words to be mastered as short as may be. The whole play should be prepared for before any of it is read, but I give only examples from the first act. I should suggest—each teacher to vary the list at his pleasure—that in the first act the following words should be dealt with. The numbers of the lines are those of the Temple Edition. _Alarum._ This occurs in the stage-directions of scene ii. The class will see at once that it differs from "alarm," and can be made to appreciate how from the strong rolling of the _r_—"alarr'm" came to this form. That the latter form is now used in the sense of a warning sound, and especially in the sense of a sound of trumpet or drum to announce the coming of a military body or the escort of importance affords a good example of the manner in which synonyms are established in the language. A quotation or two may help to fix the word in mind: Our stern alarums changed to merry meetings—"Richard III," _i_, 1. And when she speaks, is it not an alarum to love?—"Othello," _ii_, 3. The dread alarum should make the earth quake to its centre.—Hawthorne, "Old Manse."