I return to my system, and I say, when the critical age approaches, present to young people spectacles which restrain rather than excite them; put off their dawning imagination with objects which, far from inflaming their senses, put a check to their activity. Remove them from great cities, where the flaunting attire and the boldness of the women hasten and anticipate the teaching of nature, where everything presents to their view pleasures of which they should know nothing till they are of an age to choose for themselves. Bring them back to their early home, where rural simplicity allows the passions of their age to develop more slowly; or if their taste for the arts keeps them in town, guard them by means of this very taste from a dangerous idleness. Choose carefully their company, their occupations, and their pleasures; show them nothing but modest and pathetic pictures which are touching but not seductive, and nourish their sensibility without stimulating their senses. Remember also, that the danger of excess is not confined to any one place, and that immoderate passions always do irreparable damage. You need not make your pupil a sick-nurse or a Brother of Pity; you need not distress him by the perpetual sight of pain and suffering; you need not take him from one hospital to another, from the gallows to the prison. He must be softened, not hardened, by the sight of human misery. When we have seen a sight it ceases to impress us, use is second nature, what is always before our eyes no longer appeals to the imagination, and it is only through the imagination that we can feel the sorrows of others; this is why priests and doctors who are always beholding death and suffering become so hardened. Let your pupil therefore know something of the lot of man and the woes of his fellow-creatures, but let him not see them too often. A single thing, carefully selected and shown at the right time, will fill him with pity and set him thinking for a month. His opinion about anything depends not so much on what he sees, but on how it reacts on himself; and his lasting impression of any object depends less on the object itself than on the point of view from which he regards it. Thus by a sparing use of examples, lessons, and pictures, you may blunt the sting of sense and delay nature while following her own lead.