With this finding some safe and substantial foundation in the pupil's own experience is connected the necessity of speaking of literature, as of anything else one tries to teach, in the language of the class addressed. Of all that we say to our pupils very little if any of all our careful wisdom really impresses them or remains in their minds except that portion which we have managed to phrase in terms of their language and so to put that it appeals to emotions of their own young lives. They can have no conception of the characters in fiction or poetry except in so far as they are able to consider these shadows as moving in their own world. They should be told to make up their minds about Lady Macbeth, or Robin Hood, or Dr. Primrose as if these were persons of their own community about whom they had learned the facts set forth in the books read. They cannot completely realize this, but they get hold of the fictitious character only so far as they are able to do it. They will at least come to have a conception that people they see in the flesh and those they meet in literature are of the same stuff fundamentally, and should be judged by the same laws. They will receive the benefit, moreover, whether they realize it or not, of being helped by fiction to understand real life, and they will be in the right way of judging books by experience. The principle of speaking to pupils only in the language of their own experience is of universal application, but it is to be applied with common sense. Nothing is more unfortunate in teaching than to have pupils feel that they are being talked down to or that too great an effort is being made to bring instruction to their level. A friend once told me of a professor who in the days of the first period of tennis enthusiasm in this country made so great an effort to take all his illustrations from the game that the class regarded the matter a standing joke. Yet if care be exercised it is not difficult to mix with the childish, the familiar, and the commonplace, the dignified, the unusual, and the suggestive. Starting with a daily experience the teacher may go on to states of the same emotion which are far greater and higher than can have come into the actual life of the child, but which are imaginatively intelligible and possible because although they differ in degree they are the same in kind. Nothing is lost of the dignity of a play of Shakespeare's dealing with ambition if the teacher starts with ambition to be at the head of the school, to lead the baseball nine, or to excel in any sport; but from this the child should be led on through whatever instances he may know in history, and in the end made to feel that the ambition of Macbeth is an emotion he has felt, even though it is that emotion carried to its highest terms. So the small and the great are linked together, and the use of the little does not appear undignified because it has been a stepping-stone to the great.