Therefore, in giving the great epics, the teacher must know what aspects, details, and episodes to pass by or to pass lightly over. And he must look carefully to the fitness of any piece of this kind he may consider. It is not sufficient that it have a story. For example _Sohrab and Rustum_ is a little epic which fits perfectly certain seventh or eighth grades, because, in addition to a sufficiently good story, it has an atmosphere of vast spaces and large movements, a wealth of broad, noble details; and above all, it handles and evokes a simple, primitive emotion, a sorrow which is as impersonal as the sorrows of Odysseus--a true epic sorrow. In contrast, _Enoch Arden_, another piece of the epic kind, is not adapted to children of any age, because it displays a complex domestic and psychic situation which no child ought to be called upon to realize, while the emotion called for is both in kind and amount the sentimentality of adults. Even among the folk-ballads the same discrimination must guide us. _Sir Patrick Spens_ is the boy's own; while the poignant pathos of _Young Waters_, true and piercing as it is, is not for the boy to feel. So, as will be said many times, but always with meaning, we choose, when we are sane, not the novel, complex in plot, involved in motive, overcharged in emotional atmosphere, but the simple, direct-moving romance, the hero-tale, whose subject-matter and method are so broad and universal as to fit even the child. We can welcome, for example, the hearty boyishness of _Quentin Durward_ or _Kidnapped_, where we could not pilot our elementary class safe through the social and ethical sophistications of _The Heart of Midlothian_, nor steer them intelligently through the involved structure and difficult narrative medium of _The Master of Ballantrae_. So with the lyric form. If one's choice of a lyric lay between "The splendor falls on castle walls" and "Tears, idle tears," he would renounce the complex mature moods, the figures and allusions for which the child's experience has given him no preparation, the pervading tone of rich melancholy of the one, in favor of the buoyant objectivity and more obvious emotional mood of the other.