Fate waves a wand, and the child who has been the centre of interest in
her home and in her school has to learn to give--and to give
generously--as others gave to her.

For the real teacher is never paid for all she does. Her salary is not
augmented in proportion to all the extra help she gives to the backward
or delicate pupil--to the hours of drudgery, outside school hours,
willingly given in order to be prepared for every eventuality of school
life. Such things are never paid for in money, the only reward is in the
partial realization of the standard attempted.

Another point. The ideal teacher must have real personality, and this is
a thing of slow growth, but which can be developed under expert
guidance. There must be sympathy, tact, and humour. In adopting the
attitude of the giver instead of the receiver the young teacher is too
apt to put away the remembrance of childish difficulties, and to forget
the restless vitality which made her, as a child, long to fidget, and do
anything but learn.

There is another thing to bear in mind. The majority of amateurs are
never subject to the same criticism as the professional. Everything is
'watered down'. 'Very good' has often been the verdict of the critic,
but an unspoken addition has been--'for an amateur'.

Now in a training department one of the most valuable points of the
training consists in the outspoken comments. And this does not only
refer to musical work, but to personal faults. We all know that if a
mannerism does not interfere with the unity of a strong personality, it
may be left alone. But there are some mannerisms which merely express
the weaknesses of those who possess them, and which spoil the expression