Not realizing this, I used to make a mistake when I first began to teach. I thought it was necessary that the pupils should understand the poem in detail before they could get the general effect. I used, therefore, to begin by analysis, by pulling the poem to pieces, showing its structure, the order of ideas, the meaning of words, and when I thought everything was perfectly clear I would give the general effect, or very often would leave that to the students themselves. This was a fatal mistake. By going through the process of analysis first, I had rendered an appreciation of the piece as a whole ever so much more difficult; while if I had begun by trying to get the general effect, and had succeeded, no amount of analysis could have destroyed that first impression. On this point Professor Corson says: "The spiritual appeals which are made by every form of art, be it in colour, in sound, in stone, in poetry, or whatever may be the medium employed, must be responded to directly, immediately (in the literal sense of the word), or not at all. Of course, the extent of the response may be indefinitely increased. But there must be, to begin with, a direct, immediate response, however limited it may be. There is no roundabout way to such appeals. The inductive method is not applicable to spiritual matters. The very word _induction_, is absurd, in connection with the spiritual. It belongs exclusively to the intellectual domain." When the first impression has been made, then will come the analysis, and I am convinced that this analysing process is one which the student, especially the young student, cannot dispense with, and which is an exceedingly valuable mental training.