the teacher. However, it is not essential that a formal analysis
of every selection be made; indeed, as has been already implied,
minute analysis may even defeat the end of these opening chapters.
The question of formal analysis may be left to the discretion of
the teacher, who must determine how far it serves his purpose in
each individual instance.

The criterion of Chapter I. does not demand an interpretation
based upon the complete analysis given above, which is intended as
an illustration of all analysis; if all the relationships
suggested above be reflected through an oral reading of "The
Cheerful Locksmith," the reader has attained the steps of
development embodied in Volume IV. However, in drill on the
selections in Volume I., the teacher should never think of
limiting the pupil to the significance of that volume; every
student should be encouraged to reflect as much of the truth,
literal and suggestive, as his degree of discernment and of
freedom will allow.

The immediate aim of drill on "The Cheerful Locksmith" should be a
hearty response to the spirit of the Whole, however much beyond
that may be achieved. The student must be inspired by an ardent
desire to awaken the interest of his audience in "The Cheerful
Locksmith," as does one who through introductory remarks presents
the "speaker of the evening."

It is to be thoughtfully noted that all the selections in this and
the three succeeding chapters have been chosen for their easy
adaptability to use in the first natural period of art--
expression, the Colossal period. They are selections with an