that he tried to show how a man would feel if the supernatural were actual. For natural, wholesome-minded children it is not in the least necessary to take pains to reconcile them to the supernatural. To the normal child the line between the actual and the unreal does not exist until this has been drilled into him by adult teaching, conscious or unconscious. The normal condition of youth is that which accepts a fairy as simply and as unquestioningly as it accepts a tree or a cow. Certainly it is true that children are in general ready enough for what they would call "make-believe," that stage of half-conscious self-deception which lies between the blessed imaginative faith of unsophisticated childhood and the more skeptical attitude of those who have discovered that "there isn't any Santa Claus." For all younger classes nothing more is likely to be necessary than to assume that the wonderful will be accepted. When occasion arises to justify the marvellous, the teacher may always call attention to the fact that in poems like "The Ancient Mariner," or "Comus," or "Macbeth" the supernatural is a part of the hypothesis. To connect with this the pupil's conception of the part the hypothesis plays in a proposition in geometry is at once to help to connect one branch of study with another, always a desirable thing in education, and to aid them in understanding why and how they are to accept the wonders of the story entirely without question. The impossible is part of the proposition, and this they must be made to feel before they can be at ease with their author or get at all the proper point of view. The aim of literature is to arouse emotion, but we live in a realistic age, and the youth of the present is not given to the emotional. Youth, moreover, instinctively conceals feeling, and the lads in our school-classes to-day are in their outside lives and indeed in most of their school-work called upon to be as hard-headed and as unemotional as possible. They are likely to feel that emotion is weak, that to be moved is effeminate. They will shy at any statement that they should feel what they read. The notion of conceiving an hypothesis helps just here. A boy will accept—not entirely reasoning the thing out, but really making of it an excuse to himself for being moved—the idea that if the hypothesis were true he might feel deeply, although he assures himself that as it is he is actually stable in a manly indifference. The aim of the teacher is to awake feeling, but not to speak of it; to touch the class as deeply as possible, yet not to seem aware, or at least not to show that he is aware that the students are touched.