The teacher should by all means study literary masterpieces for the purpose of learning from great authors how they escaped these difficulties. That he may strike the right chord in the earlier stages of instruction, he should turn particularly to simple popular writers, Homer, for example, whose story-telling is, on the other hand, too general and _naïve_ for older pupils who have lost the power to put themselves back into a past period of culture. Yet it is safe to say in general, that classic writers seldom take sudden leaps and never stand still entirely. Their method of unfolding consists in a scarcely perceptible, at any rate an always easy, advance. They dwell, indeed, long on the same thought, but nevertheless achieve, little by little, most powerful contrasts. Poor writers, on the contrary, pile up the most glaring antitheses without other than the natural result--the antagonistic ideas expel each other and the mind is left empty. The same result threatens the teacher who aims at brilliancy of presentation. 77. The apperceiving, or assimilating, attention (74), though not the first in time, is yet observed very early. It shows itself when little children catch and repeat aloud single, familiar words of an otherwise unintelligible conversation between adults; when a little later they name, in their own way, the well-known objects that they come upon in their picture-books; when later still, while learning to read, they pick out from the book single names coinciding with their recollection; and so on in innumerable other instances. From within ideas are suddenly bursting forth to unite with whatever similar elements present themselves. Now this apperceiving activity must be exercised constantly in all instruction. For instruction is given in words only; the ideas constituting their meaning must be supplied by the hearer. But words are not meant to be understood merely; they are intended to elicit interest. And this requires a higher grade and greater facility of apperception. Universally popular poems do not produce their pleasing effect by teaching something new. They portray what is already known and utter what every one feels. Ideas already possessed are aroused, expanded, condensed, and consequently put in order and strengthened. On the other hand, when defects are apperceived, _e.g._, misprints, grammatical blunders, faulty drawings, false notes, etc., the successive unfolding of the series of ideas is interrupted so that their interlacing cannot take place properly. Here we see how instruction must proceed and what it must avoid in order to secure interest.