are modified by their use. He should cultivate the habit of word
mastery. What is read will not otherwise be understood. Without it there
can be no good reading, speaking or writing.

EXPRESSIVE READING.--There should be constant drill to secure correct
pronunciation, distinct articulation, proper emphasis, and an agreeable
tone of voice, without which there can be no expressive reading. This is
a difficult task, and will take much time, trouble and practice; but it
has far-reaching results. It enlarges the sympathy of the pupil and lays
the foundation for a genuine love of literature. Do not, then, let the
reading lesson drift into a dull and monotonous calling of words. On the
contrary, let it be intelligent, spirited, enthusiastic. Emotion comes
largely from the imagination. The pupil himself must be taught not only
to feel what he reads, but to make its meaning clear to others. It is
important that children be taught to acquire thought through the ear.

CONCERT READING.--Reading in concert is generally of little value, and
the time given to it ill-spent. It does not aid the children in getting
thought, or in expressing it fluently. As an exercise in teaching
reading it is ineffective and often positively harmful. A concert
recitation to which special training has been given partakes of the
nature of a hymn or a song, and then becomes an element of value. If
occasionally there must be concert reading in the class room, it should
always be preceded by individual mastery of the selection.

POEMS.--In the first lesson, a poem, like a picture, should be presented
as a whole, and never dissected. The teacher should first read it
through, not stopping for note or comment. He should then read it again,
part by part, stopping, for question, explanation and discussion.
Lastly, the whole poem, should be read with suitable emotion, so that