In some works, the thought is not so condensed and confined. Here, the main effort of the reader is to grasp the thoughts successively in a rapid, clear, and comprehensive manner. He must be able to read a book chapter by chapter and grasp the central ideas, to hold paragraph after paragraph, chapter after chapter, in his consciousness, so that each gives added illumination to the main thought and, at the end, the whole of the work stands out in its entirety. He must learn to grasp the central thought in each section as he proceeds--to sift the wheat from the chaff. The minor details have been of value in giving him the main thought, but the real ability of the good reader consists in dropping these minor details from the mind and holding steadily on to the more important facts. This method gives a greater power of sustained attention and a wider acquaintance with good literature. Most of our reading is done in this way. It would be impossible otherwise to get a wide range, as time does not permit of minute analysis, and many of our longer works are so diffuse that they would not repay such careful study. The supplementary, or extensive, reading may be given as seat work or home work. As seat work, it can come as a grateful relief from the arduous tasks in the ungraded school and will keep many an active mind from getting into mischief. By questioning about the main facts the teacher can assure himself that the work has actually been done. This questioning should not be used only to catch the negligent; it should give pleasure to the pupils as a conversation with them about their pleasant occupation. It should be done very informally, often as two intelligent people would discuss a book. The questions should be broad in their scope and should not dwell on matters of detail. If it is a story that is to be considered, it should be examined as follows: Discover what are the difficulties set up; how they are brought about; how they are overcome; how many threads of interest there are; why certain characters are introduced; what would be the effect if certain parts were omitted; to what extent the final solution is logical. When the examination is finished, a series of compositions might be written on topics connected with the story. For instance, if _Rip Van Winkle_ has been studied, a series of three compositions might be assigned: (1) Rip's domestic life; (2) his adventure in the mountain; (3) his return to the village. Three compositions would be better than a single one on the whole story, because too great condensation usually detracts from the value, and because the excellence of a school composition is usually in inverse proportion to its length.