Reading is a communication of thought; a transference of ideas from one mind to other minds so as to influence their thinking in a definite manner. The process is distinctively communicative, involving two parties, speaker and audience, equally indispensable. As well might the student of manual training attempt his work without materials, to paint without paper or 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 feet; and the act of mental concentration upon his author's thought in relation to his audience is not at first a simple task. Do not hurry him in his development. Remember that expression to be truthful, must be spontaneous. The teacher needs only to hold the right objects of thought before the pupil's mind, then stand aside and let him grow in nature's own way. No thought of the HOW should be allowed to enter the student's mind while he is speaking, it is only the WHAT that concerns him. Form is born of spirit; the letter killeth, but the spirit giveth life.