The above analysis is suggested as a guide for study.  A tentative analysis of each selection might be offered here; but it is better that the student develop his own powers of discrimination by doing this preliminary work himself, directed, as far as necessary, by 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 easily distinguishable theme.  Throughout these chapters the mind of the student should be engaged with the motif of the selection as it first catches the mind.  Nothing in later study can make up for the loss of the first glow, the undefined answering response to the animating spirit of a writer’s message.  His differentiated meanings, his elaborations of theme for the purpose of increased force, intensity or suggestion are but useless lumber to a mind that has not throbbed in sympathy, scarce knowing why.  It is just here that almost all teaching in both literature and its expression fails; there is not enough browsing—­knee-deep, waist-deep,—­for the pure joy of it.

CHAPTER II.

SMOOTHNESS.

At first, the student may find it difficult to concentrate the minds of his hearers upon his theme steadily and continuously.  His ability to do this may come spasmodically.  This irregular mental activity reports itself in unevenness of delivery; life appears in gleams not in steady shining.  But with continued effort to concentrate other minds upon his subject, this unevenness gives place to ease in delivery, to smoothness of voice.  Continuity of thought impels smoothness of expression.  When a thought is held steadily in the mind of the pupil, together with a dominating purpose to communicate that thought to others, the tones of his voice become evenly sustained and smooth.