2. To the listeners. The contagious nature of emotion has already been pointed out. The good reader, by his sympathetic and expressive rendering of the poem, may reveal to his listeners depths of feeling, the existence of which they had not before suspected. We have often been thrilled by a new emotion, upon hearing a familiar passage read by another. Every teacher should be a good reader. His tone of voice, his movement, his gestures are the signs by which the pupils interpret his emotional attitude. If he is not already a good reader, he should bend all his energies to become one. Persevering practice, attention to mechanical features, such as distinct articulation, pausing, flexibility of voice, and, above all, a sympathetic appreciation of the author's thought and feeling, will soon convert a poor reader into a good one. He will soon find that his voice will accommodate itself insensibly in pitch, tone, and movement to the changing emotions of the poem. The delight of the lesson will be greatly enhanced where the reader lends to the rhyme of the poet the music of his voice. The reading reveals the general thought of the poem. In simpler poems, the pupils will recognize in the reading the relationship and the intent of many of the subordinate parts. But the intellectual side is only secondary. Literature, in its finer forms, is not primarily an intellectual subject, such as grammar or mathematics. The emotional tone, the spiritual meaning, and the artistic form--these are the main elements, and these can be best developed by good reading. The teacher should acquire the habit of reading poetry aloud in his home, and should induce his pupils to follow his example. Further, as two senses will give a more vivid realization of thought than one, the pupil, in the class, should follow with his eye the reading of the teacher; and it is helpful for a church congregation to follow with the eye the reading of the scripture lesson by the minister. THE DEVELOPMENT OF THE MAIN THOUGHT