The Project Gutenberg eBook of The Haliburton primer, by M. W. Haliburton.

How to teach a child to read so as to create and preserve the right attitude toward reading is one of the most important problems of the school. That it has not been solved to the joint satisfaction of theorist and of practical teacher is evidenced by the continued discussion of the subject both in speech and in print.

This little primer may not prove to be the last word on primary reading. It is in my opinion the most valuable word that has yet been spoken. For here we have several of the most important desiderata for whose combination all are searching.

The matter is interesting to the persons to whom it is addressed; it is a series of stories about several little children told in conversational form. Its thought units are short but sequential, and its vocabulary is small, each word being presented with interest, and repeated with variety in its relations. As a natural outgrowth of the acquaintance with old words comes the power to decipher new words. The phonic lessons are well graded, and the subject is[iv] properly subordinated to thought getting. The appeal made to the primitive, æsthetic enjoyment of the jingle, with simple melody and captivating rhythm, as the phonics are presented, is followed by the gratification of finding them contributory to the ability to read the classic rimes which follow.

That all these values characterize the book is due to the fact that many pedagogic virtues are characteristic of its author. Those who have seen Miss Haliburton teach know that her power to inspire, interest, and develop her pupils is not only due to the fleeting influence of the much talked of “teacher’s personality,” but is largely a transferable ability, due to a gifted woman’s sympathetic insight into the processes of the child mind, illuminated by the scholar’s knowledge of genetic psychology.

An intimate acquaintance with the results attained by those whom the author has instructed in her methods, enhances the approval which her book itself commands.

Now I have you, Baby.
Come and dance.
You may dance with Baby, Frank.
Will you dance with him, Baby?
Will you dance with Alice?
Will you dance with me?
Dance with your Sister Grace.
I will dance with you.
You can dance, Baby.
Dance, Baby, dance.
Do you like to dance?
[25]

Do you like to see a baby dance?
A baby likes to jump and dance.
Can your baby sister dance?
Does she like to dance?
Do you like to dance with her?
Does she like to dance with you?

Did you see Baby dance?
No, I did not see her dance.
Did Baby dance with Grace?
No, she did not dance with Grace.
Grace said, “Come and dance, Baby.
Will you dance with me?
Dance with your Sister Grace.
You can dance, Baby.”

Come here, Frank.
Will you whistle for us?
Baby likes to hear you whistle.
Whistle, and she will dance for us.
Alice and I will dance with her.
Whistle for us to dance, Frank.
Yes, I will whistle, Grace.
Little sister, will you dance for me?
Now dance, little sister.
[29]

Can you whistle?
Frank can whistle and dance.
Boys like to whistle.
Frank likes to whistle for Baby.
Baby likes to hear him whistle.
Baby likes to dance for Frank.
She likes to see Frank dance.

Did you see Baby dance for Frank?
Yes, I am glad I saw her dance.
Frank said, “I will whistle.
I am glad Baby will dance for me.”
Grace said, “Whistle for Baby.
Whistle, Frank, whistle for us to dance.
Now see us dance, Frank.”

Now here comes Dot.
Alice, here is your kitty.
She has come to see the chicks.
See Ducky Bet, Dot.

The little chicks run to the hen.
Do not run, little chicks.
Dot will not catch you, Ducky.
The chicks do not like you, Dot.
The little duck does not like you.
But I like my little kitty, Dot.
Come to me, you little white kitty.
[37]

Alice has a little white kitty.
Her kitty’s name is Dot.
Did you see how white Kitty Dot is?
Baby has a black kitty.
Her kitty’s name is Mink.
You will see how black Mink is.
Baby likes her black kitty.

You did not see Kitty Mink.
But you saw Alice’s white kitty.
Grace said, “Now here comes Dot.
Look, look, Alice! See the chicks run.
The chicks do not like Dot.”
Alice said, “But I like my kitty.”

Alice! Alice!
Come here, Alice.
Come see me make a sweet cake.
You can not make a cake, Grace.
Can Grace make a cake, Mother?
I will show her how to do it, Alice.
Show me, too, Mother.
I can make a sweet cake.
May I make a cake, Mother?
Yes, you and Grace may make it.
I will show you how to make it.
I am glad to have you make the cake.
[39]

Did you see Grace and Alice?
I saw Grace and Alice with mother.
Mother said, “Your cousin is coming.
I will make a cake for your cousin.
I will show Grace how to make a cake.”
Alice said, “Show me, too, Mother.
I can make a cake.
Grace and I will make it.”

Grace said, “Baby must see the cake.
Show her the cake, Alice.
Does she like sweet cake?”
Alice said, “See the cake, Baby.
It is a sweet, sweet cake.
Do you like sweet cake, Baby?
This cake is for Cousin Max.”

Come and play with my drum, Max.
Do you like to march?
Yes, Frank, I like to march.
Alice! Grace! Come and play.
Look, Mother, look! See us march.
Hear Frank whistle and tap his drum.
Rub-a-dub-dub! Rub-a-dub-dub!
Now Max may tap the drum.
Rub-a-dub-dub! Tap the drum, Max.
[46]

I will tap the drum. Rub-a-dub-dub!
Can you tap it like that?
Hear me tap it, Alice.
Hear it say, “Rub-a-dub-dub!”
You must tap it like that, Alice.
Now let us march.
Now we must run. Quick, quick!

Did you see Frank and Max march?
Did you see Alice and Grace march?
Max and Frank ran and ran.
Alice and Grace ran, too.
Frank said, “You must march.
You must run, too.”
Did you see them running?

Here, Lad, here, here, here!
Is Lad your dog’s name, Frank?
Yes, that is his name, Max.
Is he a big dog, Frank?
No, he is not a big dog.
I will whistle. Here he comes, Max.
Look at him. See how little he is.
Come here, Lad. Come to me.
Look at him. He will not come.
Get up and go to Max, little dog.
[48]

Will your dog catch the chicks, Frank?
No, Max, he will not catch them.
But he will play with the chicks.
He likes to play with them.
He likes to see them run.
But he must not make them run.

My dog can catch rats, Max.
I do not like to see him catch rats.
But he likes to catch them.
I like to see Lad jump.
I will show you how he can jump.
Toss the ball, and he will jump high.
I can make him jump high.
Come and see him jump, Max.

PHONIC JINGLES

Oh, kitty, kitty, what a black spot!
Where did you get this spot, kitty?
How did you get it?
See this black spot on Dot, Baby.
Alice can not keep her white.
Did you see Dot’s little bed, Baby?
She has a little bed now.
Here is the little bed.
Dot will sleep in the little bed.
Alice will make her sleep in it.
Come, get into your bed now, Dot.
[56]

Frank said, “Bun runs away.
We will make a pen for him, Max.”
Did you see Frank and Max catch Bun?
They can keep Bun in the pen now.
Did you see the little bed for Dot?
Did you see Frank and Max make it?
They can make little beds.

Frank said, “Will Dot sleep in a bed?”
Alice said, “Yes, she will sleep in it.
I will make her sleep in a doll bed.”
Grace saw a black spot on Dot.
She said, “Look at this black spot!
Where did you get this spot, kitty?
Alice can not keep you white.
Come and get into your bed, Dot.”

PHONIC JINGLES

Mother, may we go with Father?
Where is your father going, Frank?
He is going to town, Mother.
May Max and I go with Father?
Yes, you and Max may go.
May Grace and Alice go, Mother?
Yes, they may go with you.
Where is Baby, Mother?
Let Baby go with us, Mother.
Oh no, Frank, I can not let her go.
I will keep Baby here with me.
[59]

Where are you going, Frank?
I am going to the barn, Max.
Come and go with me.
We will get the horses for Father.
Father is going to town.
Mother says we may go with him.
Oh, I am glad we are going, Frank.

Are Grace and Alice going with us?
Yes, Mother says they may go, too.
Is Baby going, Frank?
No, Mother will not let Baby go.
She will keep Baby with her.
Now let us run to the barn.
Let us catch the horses for Father.
I catch a horse with an apple.
[60]

Max, come look at the red oxen.
Oh, how big the red oxen are!
See how they can pull.
Oxen can pull like horses.
Can the oxen run, Frank?
Yes, Max, oxen can run.
But oxen do not like to run.
They like to walk.
I do not like to drive oxen.
I like to drive horses.
Father will show you how to drive, Max.
He will let you drive the horses.

PHONIC JINGLES

We are going to school, Max.
I am glad you are going with us.
I like to go to school.
I like to write in school. Do you?
Yes, I like to write, Frank.
Is your school in town?
No, we do not go to school in town.

This is the way we go to school.
You see we go through the woods.
We see the birds on the way to school.
We hear the birds sing.
We find the birds’ nests.
We look at the nests.
I will show you the birds’ nests.
Then we will go away.
[66]

Come, Alice. Come, Grace.
We are going home now, Max.
Which way are you going, Frank?
We did not come this way.
We came another way, Max.
That way was through the woods.
Did you like the school, Max?
Yes, Frank, I like your school.
I do not like to go to school in town.
I like to go to this school.

PHONIC JINGLES

Here is Piggie Wee.
Here is Piggie Wig.
Piggie Wee is Alice’s pig.
Piggie Wig is my pig.
Which is Piggie Wee?
Which is Piggie Wig?
Can you tell, Frank?
Yes, I can tell.

I can tell which is Piggie Wig.
I can tell which is Piggie Wee.
Piggie Wig has a curly tail.
Look at his curly tail, Max.
But Piggie Wee’s tail is not curly.
See how Piggie Wig jumps and dances.
Greedy Piggie Wee goes to bed.
[71]

I know the pigs now, Frank.
Your pig has the funny, curly tail.
Alice’s greedy pig says, “Wee! Wee!”
I like your little, greedy pig, Alice.
I like your pig, too, Frank.
I like its curly tail.
I know a funny rime, Max.
It is about little Piggie Wig.

Grace and I write rimes, Max.
We write funny rimes at school.
Mother writes rimes for Alice.
Father writes funny rimes for her.
Father writes funny rimes for us, too.

PHONIC JINGLES

What a pretty day it is, Grace!
And what a pretty pond this is!
Look at the ducks in the water!
See that big duck with the curly tail!
Yes, they are here all day in the water.
They make nests here at the pond.
Do all the ducks lay here, Grace?
No, I have ducks at the barn.
They lay at the barn.
That is where they live.
[75]

A big brook runs into this pond.
The brook runs through the woods.
The violets bloom at the brook.
They bloom under the big trees.
The cows come to the brook.
The sheep and lambs come too.
They like the water in the brook.

Do you see where Alice is?
She is going away up the brook.
She finds the violets that bloom there.
She finds the violets under the big trees.
Can you hear what Alice says to us?
She says, “Violets! Violets!
Come see the violets!”

Look at the ducks in the woods.
They are the ducks that live at the barn.
I see my black hen with them.
She has all of her children.
The duck and chicks are Jet’s children.
Don’t you see them running about?
That little duck’s name is Ducky Bet.
Let us go where they are, Max.
How came you here, Mother Jet?
Where are your children going?
[77]

The ducks are going to the pond.
Jet does not know where they are going.
Ducky Bet knows where they are going.
The ducks will get into the water.
Ducky Bet may go into the water, too.
She is running after the other ducks.
Let us go back to the pond, Max.

Alice! Alice! Come and look at Jet!
She is running after Ducky Bet.
Bet is running after the other ducks.
Jet says, “Cluck, cluck, cluck!
Come back, baby duck, duck, duck!”
The other ducks say, “Quack, quack!
Ducky Bet, go back, back, back!”
There! Ducky Bet is in the water.

PHONIC JINGLES

I will tell Frank to get the little duck.
Frank! Come here to the pond.
Come quick and get Ducky Bet.
There! Frank has caught the ducky.
Give the ducky to her mother, Frank.
Mother Jet, here is your baby duck.
Go to the barn with your children.
That is where you live. Shoo! Shoo!

Frank came and caught the ducky.
The hen saw him after her baby duck.
She ran about and said, “Cluck, cluck!”
The chicks said, “Peep, peep!”
The ducks said, “Quack, quack!”
Frank said, “Shoo! Shoo! Shoo!”
Lad ran about and said, “Bow-wow!”
[81]

What are you looking for, Frank?
I am looking for frog’s eggs, Max.
The frogs lay eggs in the water.
Oh, do find some of the frog’s eggs!
Find some, and let me see them.
Do frogs lay eggs in nests, Frank?
O Max! Frogs don’t make nests.
Don’t you know that? How funny!

I will show you some frog’s eggs.
I can find them in the pond.
Here are some of them now.
Come and look at the eggs, Max.
Eggs? Well! They are funny eggs!
They are not at all like bird’s eggs.

PHONIC JINGLES

Look at that rabbit.
Where, Frank, where?
Please show me.
Look in the woods.
Oh, I see him now.
Look at him hop.
See his little white tail!
There he goes! See him jump!

That Rabbit is not like Bun, Frank.
No, Max, that rabbit is Bun’s cousin.
Bun’s cousins live here in the woods.
They have homes in the woods.
What is a rabbit’s home like, Frank?
It is a hole under the ground, Max.
Rabbits make the hole in the ground.
[86]

One time I saw a rabbit’s home.
I went with Father to see it.
The hole was away under the ground.
The mother rabbit was not in the hole.
The baby rabbits were sleeping there.
Father said, “Pull them out, Frank.
Now look at them.
Then let them go back into the hole.”

Please show me a rabbit’s home, Frank.
Yes, some day I will be glad to, Max.
Thank you, Frank, thank you.
I like to see a rabbit jump. Don’t you?
Yes. I know a rime about a rabbit.
It is a rime that I can sing.
Please sing it for me, Frank.

PHONIC JINGLES

We will run up on the hay.
Then we will jump down again.
Alice, we will pull you up on the hay.
Thank you. Now I will jump down.
Jump down. Jump this way, Grace.
It is your time to jump again, Alice.
Max, look over your head.
What is that? What is that, Frank?
Look out, Max! Run, run, Max!
[91]

Do you know what made Max run?
An owl came out of the barn.
It flew down at Max and made him run.
It flew at his head.
Max did not know what it was.
He said, “What is that?”
Then he ran down on the hay.
Frank said, “Look out, Max. Run!”

The owl flew back up on the hay.
Then Frank ran up on the hay.
He caught the owl under his hat.
That was the way he caught the bat.
Grace said, “Let me see the owl, Frank.
Do you know what an owl looks like?
Yes, it looks like a cat.”
[92]

Frank said, “Come back, Max.
It is an owl. Come and see it.”
Max went back to look at the owl.
He said, “How that owl made me run!
He does look like a cat, Grace.
I know a rime about an owl.
It is about an owl making a boy run.
It is not about me and this owl.
It is about another owl and another boy.
I will say the rime for you.”

PHONIC JINGLES

Baby, Frank caught an owl.
We have a little bat, too, Baby.
The owl was in the barn.
It made Max run. It flew at his head.
It was funny to see Max run.
Frank will show you the owl.
Frank, where are the owl and the bat?
Please show them to Mother and Baby.

Mother, look at the owl.
Look at this bat. It is a little one.
We will show them to Father.
He knows where there is an owl’s nest.
It makes a bed in a hole in a tree.
Baby, look at the little bat.
It looks like a mouse.
[97]

Bun has some rabbit cousins.
We saw one as we came home.
The one we saw lives in the woods.
It lives in a hole in the ground.
The little rabbit went hop, hop, hop.
It has a funny, little, white tail.
It did not look much like Bun.

We saw Mother Jet and her children.
We saw all of the other ducks.
Ducky Bet was with the other ducks.
Mother Jet said, “Cluck, cluck, cluck!
Come back, Baby duck, duck, duck!”

PHONIC JINGLES

Hear the bees hum, Max.
They go “Zum, zum,” as they hum.
Get down on the ground to see them.
Yes, I see them, Alice.
But I like to watch the lambs.
Watch that little lamb run and play.
Yes, that is my lamb, Max.
The other lamb is Frank’s.
Look at Bossy. Bossy is Grace’s cow.
Bossy has a little bell. Do you see it?
I like to hear Bossy’s bell.
[109]

It is time to drive the cows home.
Boys, please find the cows.
I don’t see Bossy. But I hear her bell.
Don’t you hear Bossy’s bell?
Yes, I hear it, Grace.
Bossy’s bell goes “Tinkle, tinkle, tinkle!”
I like to hear Bossy’s little bell.

We will go over the hill to the brook.
Bossy knows where to find water.
She knows where to find the big trees.
There! I see Bossy in the brook.
Let me drive her out, Frank.
I will go into the brook.
Very well, Max. Drive her out.

PHONIC JINGLES

“I’LL SING A SONG”

PHONIC JINGLES

A SONG

The teacher who realizes the value of motor activity will be glad to find early in this book such words and phrases as run, march, jump, sing, whistle, bounce the ball, toss the ball, etc. She will know how to utilize these in “action sentences” developed in the blackboard lessons that usually precede reading from the book.

The vocabulary consists of 274 words, listed on pages 123 to 126, with the number of the page on which each first occurs. They are printed in clear type that they may be used at will for word drills.

Children vary much in their power to learn and apply phonic facts. With some, slowness to perceive these facts is due to lack of ear discrimination. With some, lack of power to apply the facts is due to lack of reasoning power. The child who writes, “I like the fresh ear,” and justifies her spelling by the analogies bear, tear, wear, hence, ear, has too much reasoning power for the language she inherits.

It is expected that most teachers will teach this book by the “story” method, supplemented by the “word and sentence” method, with recourse, where needful, to the “phonic” method. The various combinations of any or all of these methods, and the various devices employed will depend upon the training, the experience, and the pedagogic faith of each teacher. The book can be thus taught throughout without the use of phonics.

It is expected that the wise teacher will watch her class, and present to the whole class, to the class by groups, or to individual children, the phonic facts, when she thinks they can be best assimilated. The teacher who presents them to all her children just as and when they occur in the book, will do much less harm than in handling any of the purely phonic readers, since the phonics are so[128] easily graded, so successfully divorced from any injurious modification of the sense of the text, and so skillfully associated with melody and rhythm that they will never, as presented, produce the baleful effect of correlating the sight and sound and motor centers, with the intellect left out, under the name of reading.

The sounds of the single consonants, of the digraphs, ch, sh, th, wh, wr, and kn, that are treated as single letters, and the short sounds of the vowels are learned first as the initial letters of certain words that are well known as wholes. For instance, run has already become thoroughly known as a word when the child finds it at the bottom of page 3 printed thus:

It will be seen from this that the word run is not to be analyzed at this stage into the two parts r and un. Only the sound of the letter r is to be taught. This is done by having the sound of r associated with the letter. The printed symbol (given here in its two forms, the capital and the small letter) is to be known to the child as representative of the sound of the letter, not of the name of the letter. It requires but little effort to teach the child how to sound an initial letter. The teacher may request him to “start to say” some familiar word, as run, but to utter only the first sound of the word. To facilitate the process, she may do this herself and afterward have the child do it. When he has learned to give the sound of r, she shows him the letter, which from this time is known by its sound. In this way the sound of each letter may be taught. The names of the letters will be learned later in the year.

The next step toward making the child self-helpful is developed in the primer by means of phonic jingles such as will be found on page 51. The rime is to be read aloud by the teacher and repeated or sung by the children. Many teachers will prefer to write the rime on the blackboard. The simple, artistic melody given with each rime helps the child to memorize it. The appropriate story[129] which precedes the rime and upon which it is based, together with the picture that illustrates it, invests the rime with interest for the children.

As will be seen, these phonic jingles contain words that are alike in symbol as well as in sound. It is confusing to the child at this early stage of the work to have before his eyes different symbols for the same sound, as is the case, for instance, when he has high and sky to rime with I, or see and me to rime with sea. His riming words at this time should aid the eye as well as the ear. For this reason the phonic jingles have been given.

The words of the jingle that are arranged in a column at the right of the page, are easily separated into two parts, showing that they all belong to the same “phonic family,” thus, c-at, m-at, etc. Such separation of words into parts is not shown in the primer for the reason that it is not considered best to present to the child’s eye, at this early period, printed words that are disfigured in any way. His first book should show the words as wholes. This fact, however, need not prevent the teacher from using the phonic jingles for word analysis. The words in the column having been shown as wholes to the child, he sees that they not only rime to his ear but resemble each other to the eye. Moreover, the words in the column look exactly like the same words when he finds them in the sentences he reads. Before he reaches the phonic jingle on any given page, the child has learned to know by sight and sound the consonants that are the initial letters of the words he is to sound in the jingle. For instance, he has learned to know and to sound the consonants c, m, b, th, r, p, f, and s before the phonic jingle on page 51 is given to him. It is then an easy matter to lead up to a simple analysis of the words. The rime has been read by the teacher and repeated or sung by the child; the words in the body of the rime, which are repeated in the column at the right of the page, have been seen by the child in both places. He may now be taught to cover the unlike parts (the initial consonants) of the words in the column and show the like parts (the phonogram that indicates the “family” to which each of the words[130] belongs). He may then cover the like parts, showing, in turn, the unlike parts.

More ambitious teachers, and those who emphasize phonics earlier in the reading process, may wish to continue this analysis of words even further, by separating each word into three or more parts, having the child give the sound of each letter, thus,

The jingles lend themselves to both treatments. But it will be more in keeping with modern pedagogy if the separation of words is limited at this stage to analyzing words into phonetic families, as, for instance, the family of “at,” the family of “ap,” etc. This treatment is advised for primer work.

Mother Goose rimes may be read later in the book where several of them are given. Before they are read by the children the rimes should be memorized and then dramatized in the simple childlike way in which the young actors in the book are represented as playing Jack and Jill. A short phonic drill is then deduced from the Mother Goose rime in much the same way as from the phonic jingles.

When the children have learned to sound cat, mat, hit, sit, etc. (pages 51 and 68), and to find, from these words, the stems at and it, the teacher should reverse the process, leading the children to build words from such stems as an, am, and, end, in, on, up, all, is, as, etc.

Next the children should be required to build lists of words that are similar in sound and spelling to other words that are known at sight.

During the first school year the effect of the final e on the preceding vowel should be taught by means of words already well known to the children, thus:

Some teachers will probably prefer to have the child read through the primer before attempting to apply the knowledge of letter sounds and phonic analysis that he has gained. Such teachers will rightly consider it as more important than anything else that the child be led to regard the book as a storehouse of attractive stories, and each sentence as expressing a thought which he can get and express again. But when this object is attained the teacher will be wise to let the child find out how he may help himself to the thought getting by the power the initial letter gives him of “feeling for” the new word, and later by the power the jingles give him of “making sure” of the words.

The author has found that a vocabulary limited in quantity is a sufficient impediment to writing interesting stories for young children. She has, therefore, eschewed in the text any such sacrifice of sense to sound as would limit her vocabulary in quality also. She has, however, realized the value, in giving independence, of introducing simple phonics early. She has, therefore, taken advantage of the natural tendency of children to make and to repeat alliterations and rimes. In the interest of veracity, all attempts to beguile the child into believing that “Wag the rag in the bag” is either an interesting or an instructive “story” are avoided; it is frankly acknowledged to the child that the alliterations and rimes in this book are “nonsense-jingles” from the side of reason, though capable of affording enjoyment on the side of musical appreciation.

*** END OF THE PROJECT GUTENBERG EBOOK THE HALIBURTON PRIMER ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

		Phonic Drill
	1. The Kitty-cat	cat
	Sat on a mat.	mat
	She saw a bat.	bat
	She said, “What’s that?	that
	Ah, that’s a rat!	rat
	Pit-pitty-pat!”	pat
	2. The little rat,	rat
	So sleek and fat,	fat
	Who quiet sat	sat
	Behind a hat,	hat
	Ran “Pitty-pat”	pat
	From Kitty-cat.	cat

		Phonic Drill
	1. Oh, dear me, Dot,	Dot
	Is this not	not
	A black spot	spot
	You have got?	got
	Tell me, Dot.	Dot
	2. I love you, Dot.	Dot
	Do I not,	not
	Little tot?	tot
	Here’s your cot.	cot
	Good-by, Dot.	Dot

		Phonic Drill
	Ho! Red-cap!	cap
	Little chap,	chap
	Go “Tip-tap”	tap
	With a rap.	rap
	Make a gap,	gap
	Sip the sap,	sap
	Fly “flip-flap.”	flap

	Phonic Drill
1. I wonder who hit	hit
That little Tomtit.	Tom tit
He said, “Quit, quit, quit!”	quit
2. Why do you not sit	sit
Where you are, Tomtit?	Tom tit
You wee, saucy chit!	chit
3. And now that you’ve lit,	lit
Tomtit, do not flit,	flit
But sing us a bit.	bit

		Phonic Drill
	1. I saw a little pig	pig
	In a curly wig,	wig
	A-dancing a jig.	jig
	’Twas little Piggie Wig.	Wig
	Jolly little pig!	pig
	2. Dressed in this funny rig,	rig
	He rode in a gig,	gig
	Till he grew so big,	big
	He had to root and dig.	dig
	Hungry little pig!	pig