of the parts. The audience sees the pictures presented with new vividness; they have become animated or vitalized pictures. It cannot be too often emphasized that introspection is not conducive to vitality of the art product. The student who, while speaking, turns his thought inward upon his own mind, trying to determine whether he sees the picture he is presenting, defeats his own purpose. Such practice may serve him as preliminary exercise, but when in the presence of his audience their minds should become the objective point of his every effort. In quiescent concentration the pupil, inspired by his desire to give, is engaged in seeing clearly. But in the act of giving, of presenting the pictures to others, he must, even when practising alone, hold steadily in his mind an imaginary audience in whose minds he attempts to create vital, glowing pictures. Analysis. Example: "The Song of the Chattahoo-chee." (Page 41.) The Unit, or Whole: The purpose of life expressed through the song of the river. The Parts: (a) The eagerness of youth to attain its purpose. Stanza 1. (b) The attractions along the course of life that invite man to linger, and to swerve from his purpose. Stanzas 2, 3, 4. (c) The response to the higher good, the call of duty. Stanza 5. Service of the Parts: (a) Serves the whole by illuminating the purpose: it shows how desirable is the end kept in view. (b) Serves by revealing the strength of the purpose, which could withstand the beguilements of pleasure. (c) Is the main or central part, embodying the definite purpose. The student's appreciation of the vital service rendered by each of these parts, and his enthusiasm for sharing that appreciation with his hearers, will lead him to paint for them glowing pictures of the steadfast river, and of the scenes in its course, at the same time making the strength and singleness of the purpose felt. CHAPTER III. TASTE. As the student grows in his power to create vital pictures in the imagination of his hearers, there grows within him the desire to emphasize the beauty of the pictures. He would show that the logical service of the part which he is presenting is not only a vital service but a beautiful service as well. From this new endeavor is born taste. In the earlier stages of development, there were many things which, if measured by absolute art standards, did not serve, and were therefore unlovely. They doubtless served a high purpose in the pupil's development, and were not in vain, but with the dawning perception of the Beautiful — the unnecessary things in voice and in action gradually drop away. With the development of taste, the student has taken a long step up the ladder leading to the plane of art. The more vital the picture, the more beautifully does it serve; hence, drill in presenting vitalized pictures develops the sense of propriety. All excellence is contained in and grows out of life. Remember that here, as hitherto, the student's activity may be stimulated, but must not be forced. He must grow, however slowly, into a perception of taste. The teacher must be careful lest he paralyze the mind by anticipating the evolution of nature, and by setting up art criteria which the unfolding mind is not yet ready to fulfil. Analysis. Example: "Breathings of Spring." (Page 91.) The response of nature and of the human heart to Spring. (a) The newly-awakened life of nature. Stanzas 1, 2, 3, 4. Sub. Parts: 1, The birds; 2, the leaves; etc. (b) Longings awakened in the heart. Stanzas 5, 6, 7. Service of the Parts: (a) Serves as an object-lesson. (b) Originates the questionings that lead to the climax, the deduction. (c) Is the main part, the logical deduction. It will be observed that so closely does the service of one part depend upon and grow out of its relation to the other parts, that it is impossible to state the full service without suggesting those relationships. The suggested analysis of "The Breathings of Spring" affords a good illustration of this truth; there is such a subtle interdependence of the parts of the poem, that in our endeavor to reveal the service of each part we soon find ourselves dealing with relationships. Our "New Whole" is evolved before we have consciously striven to formulate it. Although we are still in the volume of service, the "New Whole" may be suggested here, to illuminate the truth touched upon in this paragraph: Spring, awaking sleeping nature to new life, and stirring longings for vanished loved ones, breathes hope of life beyond the tomb. The reader will fulfil the criterion of the chapter if he reflect the vital response of nature, the yearnings of the human heart, etc., not for themselves, but only as they are significant in pointing to the hope of immortality. If this revelation be accomplished, his rendering will be in good taste, for the unnecessary things will be abandoned. CHAPTER IV. RATIO OF VALUES. From display of taste to the next step is an easy gradation. He who roams in the fair fields of the imagination observes that some of the landscapes are fairer than others, and he becomes absorbed in noticing the relation of values that these different pictures sustain to each other. The leading of his own mind brings a desire to reveal to others the different values between the pictures before his mental vision. He forthwith finds his pleasure in suggesting this varying value of service to his audience, directing their attention to the valuable points of thought by magnifying these, and passing lightly over the minor parts. He points out what he sees to be the highest good, leading the audience to rest upon those things which possess, not comparative, but infinite value. He is fast becoming satisfied with nothing short of truthful service, and this truth is reflected through the ratio of values sustained between the parts. This principle of the ratio of values is fundamental in art and life. The habit of wise selection, the power to discriminate between the non-essentials and the things worth while, makes life and art significant. "Necessity is the criterion of beauty." Whatever is necessary to the fulfilment of right ends is beautiful; whatever is unnecessary to right ends is unlovely. The student then reflects beautiful service by obedience to this law of necessity. Realizing that "Beauty must ever ride upon the lion of necessity," he attempts to fix the attention of the hearers upon only those points which are essential to the revelation of the whole. Analysis. Example : "Character of Charles the First." (Page 102.) The Unit, or Whole: Character of Charles the First. The Parts: (a) The private virtues of the King. (b) His faithlessness to public trust. The Service of the Parts: (a) Serves by its negativeness and lack of weight. (b) Serves by its overwhelming weight, its great value. Lead the student so to use those arguments which serve the author's purpose, as to make their full value felt, leaving the opposing arguments colorless and unimpassioned. Thus the latter will serve by contrast, by sheer lack of value. CHAPTER I. LITERARY ANALYSIS. THE MILL ON THE FLOSS. 1. A wide plain, where the broadening Floss hurries on between its green banks to the sea, and the loving tide, rushing to meet it, checks its passage with an impetuous embrace. On this mighty tide, the black ships, laden with the freshly-scented fir-planks, with rounded sacks of oil-bearing seed, or with the dark glitter of coal, are borne along to St. Ogg's. This town shows its aged, fluted red roofs and the broad gables of its wharves, between the low-wooded hill and the river-brink, tingeing the water with a soft purple hue under the transient glance of this February sun. 2. Far away, on each hand, stretch the rich pastures, and the patches of dark earth made ready for the seed of the broad-leaved green crops, or touched already, with the tint of the tender-bladed autumnsown grain. The distant ships seem to be lifting their masts and stretching their red-brown sails close among |