(m) The trial of Captain Wharton and efforts for his release; his escape through the aid of Harvey Birch (chapters XXVI-XXX).

(n) Marriage of Frances and Dunwoodie; the fortunes of Harvey Birch; the death of Captain Lawton (chapters XXXI-XXXIII).

(0) Harvey Birch is rewarded by "Mr. Harper" (chapter XXXIV).

(p) Thirty-three years later (chapter XXXV).

Theme Topics. 1. Comparison of this story of Revolutionary times with "The Copperhead" by Augustus Thomas, played on the stage and for the screen by Lionel Barrymore. 2. Sympathizers of America, during the Revolution, living in England. 3. Sympathizers of England, living in America. 4. Character sketches of Harvey Birch; of Captain Lawton; and of Caesar.

I

Up to this point you have been reading prose fiction, chiefly short stories; now you are to begin the reading of several other types of literature, most of them in poetry form. You will thus have an opportunity to observe that the same or similar material may be handled in a variety of ways. This material does not differ widely from that which was used by the stories of Part I. For the most part, it is either legend or history or the raw material out of which history is made. That is, it is story. It is concrete, not abstract. It is mainly about men and women and what they do. Some of the selections are heroic. Others deal with crime. Some deal realistically with life as it was actually lived in the time when the selection was written, while in others you get far from the actual world into the realm of romance, or even cross the borderland into a shadowy world inhabited by supernatural beings. But always the chief interest is in men and women and how life has treated them. Thus the subjects are such as are of the keenest interest to us.

You will notice, as you look over the selections that are here grouped under the head of legend and history, that they deal with widely separated times. You begin with an episode taken from one of the oldest poems in the world. You go on to some ballads, songs of the people, known in England and Scotland generations before the time of Shakespeare; later, you will come upon some ballads that sprang out of the World War. There is a drama by Shakespeare, the story of which he got from a sixteenth century translation that was itself a translation from a French

translation of a book written in Greek by a scholar in Rome in the first century. This sixteenth century drama, based on history and legend, you may have the opportunity of seeing in a twentieth century theater in a country the very existence of which was unknown to Plutarch or to Caesar, a country that the Englishmen of Shakespeare's day were just beginning to explore as a field for colonization. No better illustration can be given of the universality of literature and its power to link together races widely scattered on the earth's surface, speaking widely different languages, living in times separated by thousands of years.

Moreover, you will find several of the great types of literature illustrated in this section. You will be helped to understand what the word "type" means if you consider the various ways in which you might write about some incident or series of incidents. Suppose, for example, your grandfather tells you about an adventure that happened when he was a boy. Perhaps he was one of a party of men, women, and children that moved "out West" to find gold or a better ranch. Something happened. Perhaps they made a song about it, telling the story in song. That was a ballad. Now your grandfather tells you about the adventure, making it as thrilling and interesting as he can. That is a short story. Perhaps he tells you about many other incidents of the trip, one section every night. That is a novel, or a romance. If you select some of these stories that are closely related, and make your grandfather, as a young man, the hero, and write out the whole series of events in such a way that people could act it out on a stage, you

would have a drama. Or these incidents, and others like them, might be the basis of an investigation into the colonization of Montana or Nevada or California. You would have a history as the result. If the story were limited to the life and achievements of one of the great pioneers, the result would be a biography. Finally, a great poet might read these and other stories and legends and histories about the Conquest of the Great Divide, the push of civilization westward across the mountains, and then might write, in stately and measured verse, this story of a civilization. The result would be an epic.

Thus you see that there are many ways of handling the material out of which literature is made. Men have used these ways for so long that a certain amount of method has been developed, marking the difference between one type, or way of telling a story, and another. Ballad and epic, short story and novel, drama and history, have certain characteristics that you may observe. By observing them, your story becomes more than a story.

II.

The characteristics of several of these types of literature will be set forth in special introductions. At this time it is only necessary to point out certain broad resemblances and differences. The epic, which many people for many centuries have regarded as the highest form of poetry, is of ancient origin. In the strict sense, it is itself a summary of a whole civilization. Its hero is regarded as the founder of the nation. The plot of the poem is the life story of this hero, told in such a way that his great services to his people are commemorated. His life is shown to have been directed by supernatural forces. Woven into the story are pictures of the civilization of which the epic is the outgrowth, and the whole story is told in an elevated and stately manner. Frequently the episodes of which the poem is composed are heroic legends, perhaps ballads, that arose among the people and were handed down through generations. Thus the ballad, in a sense, is the raw material out of which the epic developed. Various legends about Odysseus, or Ulys

ses, perhaps in ballad form, were thus put together by one or more poets. Similarly, the early English epic of Beowulf is made up of several very ancient legends, partly historical and partly legendary in the strict sense. There have come down to us a number of ballads about Robin Hood and his life in the greenwood. These were never woven together into an epic, but they show very well the material out of which epics were made.

Ballads are more simple in structure than the epic. The folk ballads, which have only recently been written down after centuries of oral tradition, are always of unknown authorship. Folk epic, by which is meant the epic that is the result of generations of tradition before coming to written form, is also as a rule anonymous. But the epic is more highly developed than the ballad; it belongs to a cultivated society. The ballad aims only to tell a story briefly and dramatically. It is not concerned with reflections on social matters or the origin of a people.

In the heroic romance, such as Scott's Lady of the Lake, many ballad and epic elements are present. Such poems are commonly written in a relatively advanced state of civilization, by an educated man for an educated audience. Many such romances were written in the later Middle Ages, chiefly in France, Germany, and England. The romances about Arthur and his knights are examples. In them heroic deeds, the efforts of the hero to win personal distinction, to realize his ambitions for himself, form the basis. They may deal with authentic history, and they often tell us a great deal, indirectly, about the social ideals of the time. They may also include purely legendary matter. The heroic romance may be prose, such as Malory's Morte d'Arthur, written in England in the fifteenth century, or such as Scott's Ivanhoe, written in the nineteenth century, but seeking to resurrect the days of chivalry.

Finally we have the dramas that deal with legend and history. In a time when English history was little more than a chronicle, without much story and with no organization or interpretation, Shakespeare began to tell, in dramatic form, the