chief. By questioning about the main facts the
teacher can assure himself that the work has actually been done. This
questioning should not be used only to catch the negligent; it should
give pleasure to the pupils as a conversation with them about their
pleasant occupation. It should be done very informally, often as two
intelligent people would discuss a book. The questions should be broad
in their scope and should not dwell on matters of detail. If it is a
story that is to be considered, it should be examined as follows:
Discover what are the difficulties set up; how they are brought about;
how they are overcome; how many threads of interest there are; why
certain characters are introduced; what would be the effect if certain
parts were omitted; to what extent the final solution is logical.

When the examination is finished, a series of compositions might be
written on topics connected with the story. For instance, if _Rip Van
Winkle_ has been studied, a series of three compositions might be
assigned: (1) Rip's domestic life; (2) his adventure in the mountain;
(3) his return to the village. Three compositions would be better than a
single one on the whole story, because too great condensation usually
detracts from the value, and because the excellence of a school
composition is usually in inverse proportion to its length.

It is exceedingly important that the teacher should see that these
written exercises are not made distasteful to the pupil. They are very
valuable if they are not considered irksome. The object is not so much
to give skill in composition as to create a taste for wide and excellent
reading. It would be better to allow this written reproduction to drop
rather than to associate the pleasures of literature with something
disagreeable.

CHAPTER III

ILLUSTRATIVE LESSONS

In the lessons that follow, the answers given to questions are those
which pupils may be expected to give after corrections and additions
have been made by themselves and the teacher.

Professor Alexander has said:

It is impossible to exemplify on paper actual
teaching. Actual teaching, as all other
practical matters, is in large measure
determined by circumstances and conditions
which are never twice the same. A large part of
a teacher's skill lies in the sympathetic
perception of these conditions and in the power
of adapting himself to them on the spur