If it is a new, rare, or especially picturesque word, we may ask questions and receive comments, or according to the situation, give quick and direct information about it: "The golden orange _glows_;" "He strung the bow _deftly_;" "The butter-cup catches the sun in its _chalice_." These three words call for attention for different reasons, in addition to the fact that any or all of them might be new and unknown words to the class. In the case of a figure or image we would pause and discuss the various terms and details of it, until most members of the class have at least intellectually apprehended it. Such a complex little figure and image as "footsteps of the falling drops down the ladder of the leaves" calls for leisurely appreciation and assimilation. A peculiar musical onomatopoeic line will interest them; "Burly dozing bumble-bee," is such a line. They will be delighted to discover why this peculiar assemblage of sounds was chosen in connection with this insect. "The long day wanes, the slow moon climbs," indicating and imitating by its slow movement and long vowels the passage of the lingering hours, is an effect they should be led to realize. We should pause to point out, or to inquire into, the implications of some pregnant or pivotal sentence, such as: "Now, Cinderella's godmother was fay;" or, "Cyclops, you asked my noble name, and I will tell it: My name is Noman." The bit selected for detailed study may be larger, amounting to a complete incident--for example, Nausicaa with her maids washing her beautiful clothes by the river; some scene or incident full of character and symbolical meaning, as the scene with the hen and the cat in _The Ugly Duckling_; some ethical or moral question that calls for judgment, such as Robin Hood's treatment of the unjust abbot, or Portia's decision as to Shylock's bond. These examples, chosen at random, are intended simply to suggest the kind of thing to be stopped over. It would be a grave mistake to pause over every such detail, or to try to make sure that the children apprehend even intellectually every item as it appears. Leave many of them for subsequent readings; let many of them lie permanently, depending rather on the effects of the general tone and spirit of the production for your results. One of the first lessons to learn about the teaching of literature is that it will not do to teach the whole art on the basis of one specimen--that it will not do to teach in any case all that one could. One must rather try to teach the characteristic, the inevitable lesson--the lesson demanded by the genius of his piece. Let the teacher avoid by all means the pitfall of "talky-talk" and lecture. Keep the literature as near play as possible--the play that cultivates and disciplines through the avenues of refined pleasure.