expression was allowed to be developed of itself. They both would have
been very good players; but now they have lost all taste for the ideal,
which manifests itself in the domain of truth, beauty, and simplicity.
If pupils are left to themselves, they imitate the improper and
erroneous easily and skilfully; the right and suitable with difficulty,
and certainly unskilfully. Even the little fellow who can hardly speak
learns to use naughty, abusive words more quickly and easily than fine,
noble expressions. What school-master has not been surprised at this
facility, and what good old aunt has not laughed at it? But you say, "It
is not right to force the feelings of others!" That is quite
unnecessary; but it is possible to rouse the feelings of others, to
guide and educate them, without prejudicing their individuality of
feeling, and without restraining or disturbing them, unless they are on
the wrong path. Who has not listened to performers and singers who were
otherwise musical, but whose sentiment was either ridiculous or
lamentable?

* * * * *

It is generally acknowledged that, among other things, I have succeeded
more or less with all my scholars in the attainment of a fine touch.
People desire to obtain from me the requisite exercises for the
development of this; but not much can be gained from these. The
important thing is _how_ and _when_ they are to be used; and that most
careful attention shall be paid in the selection of other études and
pieces, in order that nothing shall be played which shall endanger the
confirmation of the correct touch already acquired, or shall undo what
has been accomplished in the lessons. As I have said before, it does not
depend upon much practising, but upon correct practising; and that the
pupils shall not be allowed to fall into errors. I am constantly asked,