After each step, correct the positions of the whole line. The most frequent faults will be leaning forward or back, stepping too long or too short, throwing forward the shoulder on the advancing side, looking at the feet, raising them too high, bending the knee too much, and striking the heel first. If your space is limited, when the squad reaches its bounds give the command "Halt" instead of "Right," when the right foot will be brought up beside the left to its position at Attention. Then order an "About-face," and commence again with "Left." Gradually quicken the steps as they are made more correctly, until they are tolerably perfect. Next follows marching in common time. made as nearly like those just taught as possible. order, which is "Squad, forward, common time · your squad the rate at which they are to move by counting “one - two, two," in the exact time of ninety per minute. (A pendulum 17.38 inches long, which may be made with a bullet and a string, beats ninety per minute.)

one

-

66

The steps will be Before giving the MARCH," indicate to

At the preparatory command, the weight of the body is thrown on the right foot, leaving the left free to move. At "MARCH," step off with the left foot, making the feet strike the ground in the same time as the voice counted one - two." The teacher will count with the feet at first. The same faults are to be guarded against as in the divided step. Quick time differs from common time only in the rate, which is one hundred and ten steps per minute. The length of the corresponding pendulum is 9.78 inches. The words "common time" are omitted in the command.

- - HALT."

When the squad is to be halted, the command is "Squad, Never omit the caution "squad," or the halt will be shuffling and irregular. The word "squad" is to be pronounced at four paces from the place where the halt is to be made, and just as the right foot strikes the ground. The word "halt" is spoken three paces afterward, and also as the right foot falls. The left foot will be just commencing a pace. It will complete it and remain in place, and the right foot be brought up to its side. Your boys now understand the "facings" and the principles of the march, and are able to stand up "like soldiers." If they have been taught this small portion of the tactics thoroughly, it will benefit them.

We shall next commence to maneuver our squad as an organized body; and then, not only will the drill be more interesting, but the teacher will be able to begin using it in the movements of his classes. The instructions for these elementary principles have been made very minute, that the teacher may have a perfect knowledge of the subject. It will be best for him not to wait for the same perfection in his command, but to diversify the drill by movements which we shall describe hereafter.

The drill can be so conducted that the boys will consider it-not as so much extra duty-but as recreation, and enjoy it as such.

THE

TEACH THE CHILDREN TO SING!

HE benefits attending the study of geography and history, English reading and grammar, are seen and admitted by all intelligent people. The utility of mathematics and philosophy, and the ancient and modern languages, is quite generally understood and conceded. But what are the claims of music as a regular branch of education? Is there any cogent reason why-to say nothing at present about instrumental musicchildren should not be universally taught to sing? Upon this interesting as well as important question we have a few words to say.

1. Music is a science, as well as an art. Johnson gives it a place among the seven liberal branches of knowledge. The abstract and speculative principles upon which it depends have been fully and plainly elucidated, and satisfactorily tested in practice. From the Bible, and Grecian classics, and Egyptian antiquities, we learn that music was a science in very ancient times. No doubt it was then in a very crude and imperfect state. But the first elementary principles were then understood; and since that it has progressed, until now it is developed as a most beautiful branch of knowledge. As such it should be taught, and no person's education is complete who is not acquainted with its fundamental principles. And here, we may remark, is a great defect. While in our public, and many of our private schools, music is taught as an art, it is not usually taught as a science. Perhaps a few lessons are given upon the first rudiments, but for the most part, children in this country are only taught to sing by rote. They hear the melody, and easily catch it; and if they have a good ear, and ordinary musical talent, they may put in the subordinate parts, and complete the harmony. If, in this loose way, they learn to sing, how much more proficient they would become if early inducted in this beautiful science!

2. Every child, except the unfortunate mute, is endowed with musical powers. He or she has a voice, and that voice is capable of making different intonations. It can make high sounds and low sounds, hard sounds and smooth sounds. It can indicate anger and joy, hatred and love. And it is reasonable to suppose, that the child who can talk and shout, laugh and cry, can also, if properly instructed, learn to sing.

Nor is this a mere theory or supposition. In certain parts of Germany as great care is observed in teaching children to read music, as to read writing or printing, and lack of natural ability for the one performance is no more complained of than for the other. And in our own country, distinguished musicians, like Professor Hastings, declare that they have never met with a person, young or old, who, if he had a voice, could not learn to sing.

No doubt, some have a greater talent, and are more likely to become

proficients in the science, than are others. So it is in all departments of learning. But he who has but one talent should not be permitted to bury it, he should be taught to use it. Every child who can articulate, can, with some pains, learn to sing--to sing correctly, if not beautifully. His wise and beneficent Creator means that he shall sing, or He would not have thus endowed him. And if we do not teach our children to glorify their Maker in noble song, the warbling birds and bleating flocks will reproach us and them, and the choirs of heaven will look down in pity and astonishment.

3. Music has ever been regarded as a great and innocent amusement. It is such to those who listen, but still more to those who participate intelligently and correctly in the song. It not only affords relaxation for the weary mind, but likewise relief for the burdened spirit. It reassures the desponding, elevates the downcast, cheers the drooping. It acts like an angel of mercy to the mourner. The heart that is almost broken with sorrow is comforted as it listens to the sweet and plaintive melody; and if the voice can be controlled so as to join in the strain, how great and indescribable is the relief! The gentle Kirke White well said:

Oh, surely melody from heaven was sent

To cheer the soul, when tired of human strife;
To soothe the wayward heart by sorrow rent,
And soften down the rugged road of life."

4. But music does more. It exerts a most salutary influence upon human character and conduct.

It soothes the passions. When a tempest rages in the soul, and conflicting waves leap furiously, one upon another, the soft strain of melody, as it approaches, and is more distinctly heard, subdues the storm, and at once there is a great calm.

Music operates favorably upon the affections. Every thing like asperity it removes. The mind, which naturally inclines to indifference, it fills with generous emotions. It renders pliable the feelings. It dispels selfishness and promotes benevolence; and thus its influence is in the highest degree ennobling.

Mark its effect also upon the taste-how refining! Upon the energieshow animating! It frowns upon all that is low and grovelling-upon all that is dull and stupid; and produces lofty aspirations and lively movements.

Upon these and other points we might dwell at considerable length, but our object is not to write a lengthy and elaborate article. We simply wish to suggest to professors and teachers, and trustees, throughout our land, the importance of a more thorough and complete instruction of this great and delightful science. We hope to see the day when it will be placed beside grammar, arithmetic, and geography, and be taught efficiently in all our schools.

THE ORIGINAL "SQUEERS."

[The following, from an exchange, may prove interesting to our readers who may have entertained doubts that Dickens' "Squeers" was an overdrawn character:]

A CONVERSATION with a gentlemanly Englishman, now traveling

in this country, is communicated to the press.

In the midst of a familiar chat, he asked, "Did you ever read Dickens' 'Nicholas Nickleby?" I answered, "Yes."

"Well," returned he, "old Squeers was my old master, William Shaw." And here you have the rest of his story: "One day, when I was about nineteen years old, as I was passing by a bookstore on Holborn Hill, London, near the Saracen's Head hotel, I saw a finely, though comically devised picture of a schoolmaster. On stopping to observe it more carefully, I recognized the lineaments of my old Yorkshire schoolmaster, Shaw; purchased the volume containing the picture, and found that it was Dickens''Nicholas Nickleby.' A short time afterwards, I met an old school-fellow by the name of Bishop, from whom Dickens got the facts of the school part of the story; he told me that he had put Dickens in possession of them, as the surest way he knew of to pay off old Shaw for his brutality."

I asked him in what part of Yorkshire the Shaw Academy (Dotheboy's Hall) was situated; and his reply was, at Bows. And then by piecemeal we examined the characters of Squeers (Mr. Shaw), Mrs. Squeers (Mrs. Shaw), Miss Squeers (Miss Helen Shaw), and Master Wackford (Mr. Johnny Shaw).

"Mrs. Shaw was to a dot as Dickens represents her. She used to take all our lead-pencils, paper, shirts, collars, etc., and either sell them or give them to Johnny. Oh, what a hateful little fellow was Johnny! He'd steal our balls, and, as we didn't dare speak to his father about them, he always kept them. Miss Shaw is unfairly drawn by Dickens; she was well educated, and considerably refined, having been sent to a first-class ladies' boarding-school. Mr. Shaw was a very passionate man; and when enraged at a boy in school, would order two boys to hold him down upon a table, one holding down his head, the other his feet, and then would gash his bare back with birch sticks. But no boy in school dared cry when whipped, for if he did the other boys pinched and kicked him when they got out of doors. Mr. Shaw never taught any branches except reading and spelling. The reading exercise consisted of Bible reading by the whole school, one hundred and twenty boys-two verses apiece; and the writing exercise, of two lines, of large and small hand. If any boy, in either of these exercises didn't satisfy Mr. Shaw, he would forthwith lay him out on the table, order two boys to hold him down, and flog him till he got tired. One day, getting angry at a boy for a slight fault in pen

manship, he struck him with a rod, and cut open his right cheek. The assistant masters were orphaned boys, whom cruel guardians had apprenticed to him. One of them had a large fortune left him by his parents, but his guardian had apprenticed him to Shaw as farmer-boy and teacher, and had kept the fortune for himself. Mr. Shaw's large farm was cultivated by the boys. If they didn't work hard enough they were flogged, or allowed half rations. For nearly two months they had to work at haying, the school being divided into throwers and rakers. After the haying, old Shaw would say to the boys in the writing-class, 'I'll not flog the rakers, for their hands are sore; but woe unto you, throwers !'

"He used to go to London twice a year, and then the boys had to write letters telling their parents what a good man Mr. Shaw was, and how kindly he treated them. Before the letters were written, he used to say, 'I defy a boy of you to say that I ever took away a collar, shirt, or even a pin from him;' but Mrs. Shaw always did that part of the business. When in London he quartered at the Saracen's Head. Once in three weeks the boys were ranged in rows, and the assistant masters went around and saw whether each boy had his lead spoon, fork and knife in hand; if he hadn't them, he lost his pocket-money for two or three months. After the publication of Nicholas Nickleby, Mr. Shaw lost all his pay scholars, and so he apprenticed his apprenticed schoolmasters to shoemakers, blacksmiths, and carpenters. Mrs. Shaw in about two years afterward died of a broken heart. Her contemptible old husband died almost an idiot. Helen married a low drinking fellow; Johnny became a London loafer; and the second son, Jonathan, who studied medicine, spent whatever was left of the old man's property among his fellow students in drinking and high living generally; but for some years has been the village physician in his native place, Bows. John Brodie actually existed in John Doats, the village shoemaker, who had the humane habit of helping the boys in running away from 'Shaw's dungeon,' as he called the school.

"When a boy came to the school, his clothes and other things were taken possession of by Mrs. Shaw, and he was given pants of leather which had been worn by generations of boys before him, and which had been so patched with different-colored pieces of cloth that the poor schoolboys mistakenly called them 'Joseph's coat of many colors.' When Mr. Shaw and all the contemptible tribe of Yorkshire schoolmasters had been shown up and ruined by Dickens' Nickleby, the London Dispatch came out, advising Shaw and his fellow-sufferers to prosecute Dickens for libel; but my brother and I, who by bitter experience knew the truth of Mr. Dickens' exposition, wrote to the editor of that paper, assuring him that the book was almost literally true. And then the Dispatch pitched into Shaw more savagely than Dickens had done. Nicholas Nickleby, or rather a young Londoner, came into the school as assistant teacher after I left."