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The three manuscripts which we possess of the ancient Maya peoples of Central America, the Dresden (Dr.), the Madrid (Tro.-Cort.) and the Paris (Per.) manuscripts, all contain a series of pictorial representations of human figures, which, beyond question, should be regarded as figures of gods. Together with these are a number of animal figures, some with human bodies, dress and armor, which likewise have a mythologic significance.

The contents of the three manuscripts, which undoubtedly pertain to the calendar system and to the computation of time in their relation to the Maya pantheon and to certain religious and domestic functions, admit of the conclusion, that these figures of gods embody the essential part of the religious conceptions of the Maya peoples in a tolerably complete form. For here we have the entire ritual year, the whole chronology with its mythological relations and all accessories. In addition to this, essentially the same figures recur in all three manuscripts. Their number is not especially large. There are about fifteen figures of gods in human form and about half as many in animal form. At first we were inclined to believe that further researches would considerably increase the number of deities, but this assumption was incorrect. After years of study of the subject and repeated examination of the results of research, it may be regarded as positively proved, that the number of deities represented in the Maya manuscripts does not exceed substantially the limits mentioned above. The principal deities are determined beyond question.

The way in which this was accomplished is strikingly simple. It amounts essentially to that which in ordinary life we call "memory of persons" and follows almost naturally from a careful study of the manuscripts. For, by frequently looking attentively at the representations, one learns by degrees to recognize promptly similar and familiar figures of gods, by the characteristic impression they make as a whole, or by certain details, even when the pictures are partly obliterated or exhibit variations, and the same is true of the accompanying hieroglyphs. A purely inductive, natural science-method has thus been followed, and hence this pamphlet is devoted simply to descriptions and to the amassing of material. These figures have been taken separately out of the manuscripts alone, identified and described with the studious avoidance of all unreliable, misleading accounts and of all presumptive analogies with supposedly allied mythologies.



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The afternoon shadows were already growing long, when a splendid chariot drew up to the gates of the terrace-temple. Paaker, the chief pioneer, stood up in it, driving his handsome and fiery Syrian horses. Behind him stood an Ethiopian slave, and his big dog followed the swift team with his tongue out. ... Read more

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This eventful day had brought much that was unexpected to our friends in Thebes, as well as to those who lived in the Necropolis.

The Lady Katuti had risen early after a sleepless night. Nefert had come in late, had excused her delay by shortly explaining to her mother that she had been detained by Bent-Anat, and had then affectionately offered her brow for a kiss of "good-night." ... Read more

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At last the pioneer's boat got off with his mother and the body of the dog, which he intended to send to be embalmed at Kynopolis, the city in which the dog was held sacred above all animals. ... Read more

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The cloudless vault of heaven spread over the plain of Pelusium, the stars were bright, the moon threw her calm light over the thousands of tents which shone as white as little hillocks of snow. All was silent, the soldiers and the Egyptians, who had assembled to welcome the king, were now all gone to rest. ... Read more

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Once or twice Pentaur and his companions had had to defend themselves against hostile mountaineers, who rushed suddenly upon them out of the woods. When they were about two days' journey still from the end of their march, they had a bloody skirmish with a roving band of men that seemed to belong to a larger detachment of troops. ... Read more

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The night during which the Princess Bent-Anat and her followers had knocked at the gate of the House of Seti was past.

The fruitful freshness of the dawn gave way to the heat, which began to pour down from the deep blue cloudless vault of heaven. ... Read more

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I had always had a great liking for the study of material plants and animals, and I was so much interested in the occurrence of this novel phenomenon--the growth and development of an oceanic island before my very eyes--that I determined to devote the next few thousand centuries or so of my aeonian existence to watching the course of its gradual evolution.
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"There, there, little woman! light of my eyes, and core of my heart! if you don''t stop this pretty soon, I very much fear I shall be compelled to join you, Edward Travilla said, between a laugh and a sigh, drawing Zoe closer to him, laying her head against his breast, and kissing her tenderly on lip and cheek and brow. I shall begin to think you already regret having staid behind with me. " ... Read more

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Very pleasurable read!
This is one of the better "Elsie Books" that I've read in a while. With plenty of story to go 'round, the book begins with Elsie's son (Edward) and his wife (Zoe) harboring the troublesome Miss Deane. Although polite on the outside, Zoe feels their visitor has harmful intentions, even though Edward doesn't sense it. Soon, there is a blockage between the couple, and Zoe well knows that it all stemmed from the disturbing Miss Deane. To top it off, Edward is involved in a train wreck and Zoe doesn't know if she'll ever again have the chance to ask forgiveness from her injured husband.

Meanwhile, Captain Raymond's daughter, Lulu, has slipped up on letting her temper slither through and eventually ends up hurting her young, baby sister. It was bad timing for this to happen, because the captain has come in on a surprise load of money and he wants to bless his children with so many gifts, but of course, Lulu has to wait on these wonderful things.

I had great pleasure in reading this specific book in the series, although I can't quite pin-point just what it is that made this story so delightful.

Come join Elsie and her family. Their doors are always open. ... Read more

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Since the first edition of this pamphlet appeared in the year 1897, investigation in this department of science has made such marked progress, notwithstanding the slight amount of material, that a revision has now become desirable. It can be readily understood, that a new science, an investigation on virgin soil, such as the Maya study is, makes more rapid progress and develops more quickly than one pertaining to some old, much explored territory.

In addition to numerous separate treatises, special mention should be made of Ernst Foerstemann's commentaries on the three Maya manuscripts (Kommentar zur Mayahandschrift der Koeniglichen oeffentlichen Bibliothek zu Dresden, Dresden 1901, Kommentar zur Madrider Mayahandschrift, Danzig 1902, and Kommentar zur Pariser Mayahandschrift, Danzig 1903) which constitute a summary of the entire results of investigation in this field up to the present time.

The proposal made in the first edition of this pamphlet, that the Maya deities be designated by letters of the alphabet, has been very generally adopted by Americanists, especially by those in the United States of America. This circumstance, in particular, has seemed to make it desirable to prepare for publication a new edition, improved to accord with the present state of the science.

Warmest thanks are above all due to Mr. Bowditch, of Boston, who in the most disinterested manner, for the good of science, has made possible the publication of this new edition.



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Then God called to Adam and said, "Where art thou?" Before this, Adam and Eve had been happy when God was near, now they were afraid. Why? Because they knew they had done wrong. So sin makes us afraid of God. ... Read more

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SIR THOMAS BROWNE

In the matter of avowals the diffident never speak if they can write. That is why my apology for a furtive existence is here set down in solitude instead of being told face to face. You have borne so many years with my unresponsive and incomprehensible ways that shame at last constrains me to this poor defence; for I must either justify myself in your sight, or go far away where even your kindness cannot reach me. The first alternative is hard, but the second too grievous for impaired powers of endurance; I must therefore find what expression I may, and tell you how my life has been beshrewed ever since, a boy of twelve, I first incurred the obloquy of being shy. The word slips easily from the pen though the lips refuse to frame it; for I think most men would rather plead guilty to a vice than to this weakness. ... Read more

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It is a common weakness of mankind to be caught by an idea and captivated by a phrase. To rest therewith content and to neglect the carrying of the idea into practice is a weakness still more common. It is this frequent failure of reformers to reduce their theories to practice, their tendency to dwell in the cloudland of the ideal rather than to test it in action, that has often made them distrusted and unpopular.

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The sky is dull and grey, Piercing and chill the blast, Each step resounds on the frosty ground, Winter is come at last.
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I.

Florentine painting between Giotto and Michelangelo contains the names of such artists as Orcagna, Masaccio, Fra Filippo, Pollaiuolo, Verrocchio, Leonardo, and Botticelli. Put beside these the greatest names in Venetian art, the Vivarini, the Bellini, Giorgione, Titian, and Tintoret. The difference is striking. The significance of the Venetian names is exhausted with their significance as painters. Not so with the Florentines. Forget that they were painters, they remain great sculptors; forget that they were sculptors, and still they remain architects, poets, and even men of science. They left no form of expression untried, and to none could they say, "This will perfectly convey my meaning." Painting, therefore, offers but a partial and not always the most adequate manifestation of their personality, and we feel the artist as greater than his work, and the man as soaring above the artist. ... Read more

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This is a sample from this extensive book:1. What is Orthography?The science and art of the Letters of a language.2. Of what does Orthography treat?The nature and power of letters, and correct spelling.3. From what is the word Orthography derived?Two Greek words, signifying "To write right."4. What is a Letter?A character used to represent an elementary sound, or combinationof sounds.5. What is an Alphabet of a Language?A complete list of its letters.6. What is the origin of the word Alphabet?It is derived from the first two letters of the Greek Alphabet:Alpha and Beta.7. Where did the Alphabet originate?The English comes from the Greek, which was brought by Cadmus fromPhoenicia, about the year 1490 B.C.8. What was the first Alphabet ever used?The Hebrew.9 How many letters were in the original Alphabet?Sixteen.10. Where did the other letters originate?They have been added since the time of Cadmus, as their use becamenecessary. ... Read more

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An hour later, Ani, in rich attire, left his father's tomb, and drove his brilliant chariot past the witch's cave, and the little cottage of Uarda's father.

Nemu squatted on the step, the dwarf's usual place. The little man looked down at the lately rebuilt hut, and ground his teeth, when, through an opening in the hedge, he saw the white robe of a man, who was sitting by Uarda. ... Read more

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Customer Reviews (3)

Text for undergrad course
I have used this text in my undergrad course for the last couple of years.It is written in real language with lots of practical suggestions for elementary and middle school teachers.I wish I had had textbooks like this when I was in college!

Enough to stimulate many good lesson plans
I like this book and will use it with a class on arts methods in education.It divides the arts in four main domains:visual arts, theatre/drama, music, and dance, and each chapter is chock full of ways to use these domains in the K-12 classroom.At the end, they feature three lengthy integrated units that center around a single work or theme, kind of like Leonard Bernstein's arts-based curriculum.One of them is a unit on jazz study, which I thought was a great idea.A few of the explanations are tedious, some statements needed a few citations to hold up, and the anticipation guides could be answered correctly by anyone with a brain, but these are small quibbles.Mainly, it's a good book to get teachers thinking about the wide range of arts-based activities they can promote even without special training.

Good if you know nothing about teaching with the arts
This book is set up as a text book, with anticipatory guides, questions and activities for the reader to do. I was expecting a book with too many ideas, but instead this book is for those that aren't familiar with the arts or how to incorporate them into the classroom. There are better books out there, and this is more of a stroking of the authors' worth than anything else. I was very disappointed with this book.
If you have no clues about what art is or how to use it in your lessons, than this book is for you, but if you have any background using art at all, ignore this book. ... Read more

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The nectar is sweet if the heart so dares never for the meek where riskiness stares Just risking for a sign
It won't stay when you stay Goes when you're own your toes The rewards are from the chase Reach for it but never in haste Nothing does like it does
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The following papers are published chiefly because they treat in a concrete and personal manner some of the principles which the writer has developed in two previously published books, _The Educative Process_ and _Classroom Management_, and in a forthcoming volume, ... Read more

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A Necessary Voice of Dissent and Moderation
Once, William Bagley was known as a formidable critic of John Dewey and the excesses of progressive education. Since then, Bagley has been quite unjustly forgotten, even though much of what he foresaw has come to fruition. Lack of discipline has interfered with student ability to learn, over-focus on making lessons relevant to kids lives have created students who will not tolerate learning anything outside of their immediate interest. Under-focus on the tried-and-true method of drilling and fact recall have created students who cannot think critically because they have nothing to think ABOUT. Bagley saw all of this and spoke out about it. Now that much of his warnings have shown true, Bagley's work has become even more valuable.

First, do not get the wrong impression. Bagley was not a critic of all things progressive, and was certainly not a reactionary. He simply advocated that progressivism not be pushed to excess. We don't want to be Draconian OR say no to discipline; rather, we want to use discipline sparingly but effectively. We don't want to relentlessly drill rote facts into students OR say no to drilling fact, but rather, achieve a good balance between factual learning and activity.

The first several essays display Bagley's admiration for the teaching profession. (He was, himself, a teacher and principal.) "Craftmanship in Teaching" and "Optimism in Teaching" offer exaltation of teaching and a plea for teachers never to stop believing in the potential of students. The next few essays, such as "The Test of Efficiency in Supervision," are reminders that, just as in any profession, the scientific process of trial and error must and should be employed to find out what works in the classroom and what doesn't. In an age where Dewey dressed philosophy up and called it science (a trend continuing to this day in education via "Brain Based Ways of Learning") Bagley called out progressives in education for letting their zeal outpace scientific experiment and scrutiny.

The next essays are where we get down to the business of pointing out where progrsesive education often goes wrong. In essays like "Utility in Education," Bagley warns that taking a narrow view of uitiity in education (let's teach only what will help students find jobs) one is ignoring the fact that education is also supposed to teach lessons like the value of doing hard work (regardless of whether it is immediately interesting), and exposing kids to things they might not otherwise be exposed to.

Two other essays take on similar themes - "The Possibility of Training Children to Study" and "The New Attitude Towards Drilling" - warns that the progressive trends in education may make students happier, but often avoid imparting them with good habits like studying and memorizing, skills that, while sometimes boring, are necssary well past high school.

In all of this, Bagley offers a refreshing counterbalance to the education theorists of the day like Dewey and Montessori. Before ED Hirsch and even Mortimer Adler before him, Bagley was trying to warn educators that while progrssive education had many things to offer, we would be best not to extremize it (as we did in the eighties and nineties). I leave the reader with some of my favorite quotes from this book:
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Bagley on the importance of habit building in students: "The only full-fledged law that I know of in the educative process is the law of habit-building... I am often told that this "law" is fallacious. It has differeed from some other so-called laws, however, in this respect: it alwatys works. loc. 574]
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Bagley on motivation: "The best way to promote growth in either pupils or teachers is neither to let them do as they please nor to force them to do as you please, but to get them to please to do what you please to have them do. ]loc. 664]
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BAgley on the dangers of having students learn only what interests them: "The result was a well-established prejudice [in students] against everything that was not superficially attractive and intrinsically interesting." [loc. 484]
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Bagley on drilling: "What is needed, now that we have gotten away from the lock step, now that we are happily emancipated form the meaningless thralldom of drill for its own sake - what is needed now is not less drill, but better drill." [loc. 690]
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Lastly, Bagley on progressive education: "[I]f one wishes to winthe applause of the multitude one may do it easily enough by proclaiming some new and untried plan."

How true. How true.

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