O. J. Stevenson's 1912 anthology arranges its sixteen poems not by chronology or author but by increasing difficulty and subject variety, as he states in the preface. The collection includes well-known pieces such as Macaulay's Horatius and Longfellow's The Courtship of Miles Standish, alongside lesser-anthologized works like Aytoun's The Island of the Scots and Harte's Dickens in Camp. Stevenson's annotations focus on explaining 'chief points of difficulty'—archaic words, historical allusions, and textual variants—rather than offering literary interpretation. The excerpts reveal a pedagogical concern with clarity: footnotes gloss terms like 'Ainsworth' (the psalm-book) and provide context for references such as 'the Mayflower.'

Grading by Difficulty and Variety

Stevenson's preface explicitly states that the poems are ordered 'with the object both of grading them in the order of increasing difficulty, and of securing variety in the subjects treated.' This principle is evident in the table of contents: the volume opens with Moore's lyrical The Meeting of the Waters, a short, emotionally direct poem, and closes with Arnold's longer, more complex Sohrab and Rustum. The teacher is given freedom to rearrange the sequence, but the editor's scaffolding suggests a deliberate progression from accessible sentiment to denser narrative. The inclusion of both British and American poets—Wordsworth, Longfellow, Lowell, Mrs. Browning—further supports the aim of variety within a prescribed curriculum.

Annotation as Clarification, Not Interpretation

Stevenson's notes are spare and factual. In the excerpt from The Courtship of Miles Standish, he glosses 'Ainsworth' as the psalm-book 'Printed in Amsterdam, the words and the music together,' and adds a footnote for the biblical allusion 'Let not him that putteth his hand to the plough look backwards.' He does not comment on character or theme. Similarly, in The Meeting of the Waters, a single footnote identifies 'Avoca' as a valley in Ireland. This restraint suggests the annotations were designed to remove surface obstacles—unfamiliar names, historical references—without directing the reader's response. The editor's voice remains that of a scholarly guide, not a critic.

Diction and Voice Across the Selections

The excerpts display a range of poetic diction. Moore's The Meeting of the Waters uses a flowing, sentimental register ('valley so sweet,' 'bright waters meet'), while Longfellow's passage from The Courtship of Miles Standish employs a more deliberate, hexameter narrative style, with concrete imagery ('the carded wool like a snow-drift,' 'the ravenous spindle'). The contrast between the two is instructive: Moore's poem relies on abstract emotion ('the last rays of feeling and life must depart'), whereas Longfellow builds scene through physical detail—Priscilla's 'white hands,' the 'well-worn psalm-book,' the 'humble house.' Stevenson's choice to include both exemplifies the anthology's range in voice and technique, from lyrical simplicity to narrative particularity.

The Role of the 1912 Educational Context

This volume was compiled for Ontario's Department of Education examinations, specifically for 'Junior and Senior Public School Diplomas' and 'Entrance into the Model Schools.' The preface references Circular 58, indicating the poems were prescribed by the provincial curriculum. This institutional origin shapes the anthology's contents: the poems are predominantly canonical, morally instructive, and metrically regular—suitable for memorization and classroom analysis. The absence of contemporary or experimental verse reflects the conservative tastes of early 20th-century education. Stevenson's annotations, by focusing on textual accuracy ('different editions contain different readings'), further align the book with the period's emphasis on philological rigor over aesthetic appreciation.

Readers approaching this edition should note that Stevenson's annotations are a product of their time—they prioritize lexical and historical clarification over critical interpretation. The anthology offers a window into early 20th-century pedagogical values: graded difficulty, moral uplift, and textual precision. For modern readers, the interest lies not only in the poems themselves but in the editorial choices that shaped their presentation for a specific classroom audience.