Shepherds, Back," from "Comus"; "May Morning," "Ode to Shakespeare,"
"Samson," "On His Blindness," etc. I even ventured on several passage
from "Paradise Lost," and found "Now came still evening on" a
particular favorite with the children.

It seemed even easier to interest them in Shakespeare, and they
learned quite readily and easily many passages from "As You Like It,"
"The Merchant of Venice," "Julius Caesar," "Richard II," "Henry IV,"
and "Henry V."

The method I should recommend in the introduction of both poets
occasionally into the story-hour would be threefold. First, to choose
passages which appeal for beauty of sound or beauty of mental vision
called up by those sounds; such as "Tell me where is Fancy bred,"
"Titania's Lullaby," "How sweet the moonlight sleeps upon this bank."
Secondly, passages for sheer interest of content, such as the Trial
Scene from "The Merchant of Venice," or the Forest Scene in "As You
Like It." Thirdly, for dramatic and historical interest, such as,
"Men at some time are masters of their fates," the whole of Mark
Antony's speech, and the scene with Imogen and her foster brothers in
the Forest.

It may not be wholly out of place to add here that the children
learned and repeated these passages themselves, and that I offered
them the same advice as I do to all story-tellers. I discussed quite
openly with them the method I considered best, trying to make them see
that simplicity of delivery was not only the most beautiful but the
most effective means to use and, by the end of a few months, when they
had been allowed to experiment and express themselves, they began to
see that mere ranting was not force and that a sense of reserve power