Part 62 (1/2)

2. What do you like best in the description of the old-fas.h.i.+oned 'bus?

3. Justify the author's early paragraphs on the herds of dumb cattle.

4. Can you a.n.a.lyze the method by which the author makes even her most trivial details of the trip seem vital and interesting?

5. Is it true that most of these details--both narrative and descriptive--a.s.sume greater importance because they are seen through a child's vision?

6. What items bring out the disturbed feelings of the Franciscan soon after he enters the 'bus?

7. Trace the details that very gradually portray the character of Louise's husband.

8. What part does the description of the various costumes play in the portrayal of character?

9. As Louise a.n.a.lyzes to the Franciscan the past relations existing between them, do we find ourselves sympathizing with one or the other, or with neither?

10. What is the intended symbolism of the t.i.tle, _Spendthrifts_?

11. What is symbolized by the herd of cattle?

CHILDREN WANTED

LUCY PRATT, a frequent contributor to magazines, lives in Cambridge, Ma.s.sachusetts.

So slight is the plot in _Children Wanted_ that one might on reflection question whether there is a plot. In the actual reading, one becomes too absorbed in the very real situation that Miss Pratt presents to become coldly a.n.a.lytical. The vividness of Master Crosby Tarbell's particular adventure with life is reflected, not only in the letter Mr. Henry Tarbell dispatches to a certain Pony Man, but in the reader's own warm indignation at the carelessness, the cowardice, of compromising grown-ups in general. At the same time, Miss Pratt's masterly use of commonplace detail, fully as much as the poignant bits of character delineation, such as that which ends the story, makes of _Children Wanted_ as effective a bit of narrative technique as it is a striking example of the propagandist's art.

_Suggested Points for Study and Comment_

1. Is the chief interest of the story in the princ.i.p.al character or in the underlying theme?

2. Would the experience have meant as much to any child?

3. Why is the 'lady on the hill road' added to the list of customers?

4. What does Crosby's father add to the story that Crosby's mother could not? Would you have preferred to be told more about Mrs. Tarbell?

5. Do you find any explanations for the climax in the previous characterization of Crosby? How has the detailed description of the barn helped to reveal the lad's sensitiveness?

THE SQUIRE

ELSIE SINGMASTER (Mrs. H. Lewars), a Pennsylvanian by birth and residence, has been writing at more or less irregular intervals ever since her first story was published in _Scribner's Magazine_ twelve or thirteen years ago. Her reputation has been largely won by her sympathetic portrayal of the Pennsylvania Dutch character.

How adequately, how finally, a person can be characterized by his own conversations, all the princ.i.p.als in this little Millerstown drama demonstrate. Weakness, crudeness, selfishness, speak out their own existence. And, to s.h.i.+ne by contrast in the midst of all this pettiness, is the figure of a man who makes the t.i.tle 'Squire' mean what it has meant to certain English towns.h.i.+ps, and whatever more comes from responsibility a.s.sumed without force of precedent or hope of recompense.

_Suggested Points for Study and Comment_

1. What are the elements which produce the atmosphere of crudity that stands for Millerstown? Could any description of the town produce a like effect?