artistic, and psychologic. It is easy to see that many teachers, by
giving lessons continually, particularly to pupils without talent, are
led, even with the best intentions, to fall into a mere routine. We find
them often impatient and unsympathetic, especially in the teaching of
their own compositions; and again, by their one-sided opinions and
capricious requirements, by devoting attention to matters of small
importance, and by all sorts of whimsicalities, they contract the
intellectual horizon of their pupils, and destroy their interest in the
lessons.

MRS. SOLID. Your careful mode of proceeding is certainly extremely
interesting and convincing; but allow me to request an answer to various
objections and considerations which are now and then brought forward,
particularly by teachers.

DOMINIE. To that I am quite accustomed. The good and the beautiful
never obtain uncontested recognition. No one has ever offered any new
improvement, and fearlessly spoken the truth, without being attacked,
defamed, and despised, or entirely misunderstood. Our age can show many
proofs of this; for example, let us remember homoeopathy and magnetism.
Clara Wieck was not appreciated in Leipzig until she had been admired in
Paris; nor Marie Wieck, because she does not play exactly as her sister
Clara does. The same is the case with my present book, which
relentlessly treads upon the incredible follies and lamentable errors of
the times. I am quite prepared for opposition of any kind.

MRS. SOLID. I should like to suggest to you that there are other
teachers who have given themselves a great deal of trouble, and who are
very particular; but it is not their good fortune to have daughters like
yours to educate.