canvas, carve without wood or stone, model without clay, as the
student of expression to read or speak without an audience. For
this reason in all his private practice as well as class drill,
the student should hold in mind an audience to whom he directs his
attention. The office of the teacher is to hold constantly before
the pupil these two mental concepts, his thought and his audience,
or his thought in relation to his audience. The pupil must be
taught to respond to the author's thought as to his own, and at
the same time he must be inspired with the desire to give that
thought to others. In his endeavor to awaken other minds his own
will be quickened. This mental quickening reports itself in
animation of voice and manner. Herein is illustrated a fundamental
law of development; what we earnestly attempt to do for another
that we actually do for ourselves. The constant endeavor of the
teacher, therefore, must be to inspire the pupil to serve his
audience through truth, the truth of his discourse. His attempt to
gain the attention of his hearers and to concentrate their minds
on this truth will secure such concentration of his own mind as
will stimulate his interest, and interest is always vital.

Let no one mistake loudness for animation. A whisper may be more
vital, more animated than a shout. The slightest quiver of a
muscle may reveal greater intensity of thought than the most
violent gesticulation. Yet since freedom and abandon of the agents
of expression are necessary to their perfect service, let the
teacher invite that freedom and abandon without fear of
sacrificing good taste. He is not to be regarded as an artist yet;
nor is it now profitable to measure him by the criteria of art.
Let the form of his expression be as crude as it may, only let it
be born of the thought. The student is learning to think on his