As a practical matter, the teacher, in presenting a story or a narrative poem, should take advantage of the natural pauses, the end of one incident or movement and the beginning of the next, in dividing his material for the actual lessons, so that in a long story or in a drama, the end of the lesson coincides with the close of a series of incidents or the close of one of the larger movements. Nothing spoils a bit of literature more effectually than taking it in accidental or fragmentary bits. At any cost of time and pains, let there be a sense of completeness in each lesson, a feeling of repose, if only temporary, at the end of each instalment. And whether he closes his lesson or not, the teacher should at the close of every such movement in a class of older children pause to discuss, to review, or to summarize. When he makes this recognition of the close of a series of incidents, or of a movement, he accomplishes two things: he secures a certain amount of completeness, and he helps on in the children the desirable sense of organization, of composition, in their story or play. The nature of the bit of literature chosen must guide the teacher in his first presentation of it. When it is a thing in which the movement is rapid, or the interest in the action or the plot intense, it will doubtless be best to go rapidly through the whole, not pausing for any details. Then go over it slowly again, pausing for appreciation and comment. It seems well to repeat here that if the story is long and the plot involves any intensity of suspense, it may be well to let the children know the issue early in the story; the wisdom of this step will depend largely upon the average nerves of the class. There may well be several readings of a thing worth reading once. Every teacher knows how well content the younger children, especially, are to go over a thing many times. The interest of the class of older children may be kept up through the many readings of a story or poem, by shifting each time the ground of comment or discussion, opening up a new question or revealing a new point of interest at each reading. In other pieces, the slower moving stories and lyrics, the children are willing to linger over the details at the first reading. It is all but impossible to indicate what such details are, or what we mean by lingering over them. I have pointed out in some detail, in the chapter on poetry, the kind of thing that one would linger over for comment and question.