2. The larger number of their stories should be of things happening, of achievement, of epic, objective activity. Single children should often have a quiet, idyllic story to read. The class should occasionally have such a story or poem to consider and should be carefully guided to the enjoyment of it. But for the class in the larger amount of its work we will choose stories of action, as corresponding most nearly to the experience and interest of the children, as harmonizing most completely with the character of their other disciplines, as serving best to create an atmosphere of artistic _rapport_ in any group large enough to compose a class, while they serve equally well with other stories to effect those other aspects of literary training which we desire. However, all persons who choose and write stories for children should suspect themselves in regard to this matter of activity. When we say that these stories should contain much activity and should move forward chiefly by the method of adventure, we do not mean that there should be unlimited or superfluous activity. The two marks of the sensational story are too much activity, or merely miscellaneous activity, and activities unnecessarily and unnaturally heightened and spiced. It is not difficult to test our stories on either of these points. A good story has a central action to be accomplished; toward this many minor activities co-operate; there should be enough of these to accomplish the result, but there should be economy of invention and skill in arrangement, so that one does not feel that there has been a waste of material nor a bid for overstimulated interest. The danger to the child's culture, artistic, intellectual, and moral, of the ordinary juveniles lies just here, the heaping-up of sensations, the effort to provide a thrill for every page, throws the story out of balance, strains the child's nerves, and helps to produce a depraved taste. 3. To bear the strain of class use the story should present a sound and beautiful organization. This plea for a good and trustworthy structure should not be mistaken for a plea for a formal and artificial use of a story. It is rather an appeal for the use of the logical and rational side of literature--an urgency that we bring into the training of the children the plain and fundamental matters of art-form that the story exhibits, at the same time that we get out of it the intellectual value it has for the class. If it be a short story, it should go to its climax by a direct and logical path, and close when its effect is produced. If it be a longer story, it should have that arrangement of details and parts that corresponds to the movements of the action, and that serves to get the material before us in the most effective and economical way.