_Dun._ This castle hath a pleasant seat; the air Nimbly and sweetly recommends itself Unto our gentle senses. _Ban._ This guest of summer, The temple-haunting martlet, does approve By his loved mansionry that the heaven's breath Smells wooingly here.—_vi_, 1-7. This is not only charming as poetry, but it is excellent as a help to train the class to appreciative reading by attention to significant details. "Nimbly,"—with a light, quick motion,—the air "recommends itself,"—comes upon us in a way which makes us appreciate its goodness,—unto our "gentle,"—delicate, capable of perceiving subtle qualities,—senses. In the reply of Banquo the use of "guest," one favored and invited, of "temple-haunting," conveying the idea of one frequenting places consecrated and revered, of "loved mansionry," dwellings which the eye loves to recognize, all help to strengthen the impression, and to give the feeling to the mind which we might have from watching the flight of the slim, glossy swallows flitting about their nests. It is not necessary to multiply examples, since each teacher will have his personal preferences for striking passages; and since many will probably prefer to leave this whole matter to be taken up in the reading. V The first reading of a play, whether it come before or after the mastering of the vocabulary, should be unbroken except by the pauses necessary between consecutive recitations, and must above everything be clear and intelligible. In all but the most exceptional circumstances it should be done by the teacher, the class following the text in books of their own. No teacher who cannot read well has any business to attempt to teach literature at all, for reading aloud is the most effective of all means to be used in the study. This does not mean that the reading should be over-dramatic, and still less that it should be what is popularly known as "elocutionary;" but it does mean that it shall be agreeable, intelligent, and sympathetic. The teacher must both understand and feel the work, and must be trained to convey both comprehension and emotion through the voice. The pupils will from a first reading get chiefly the plot, but they may also be unconsciously prepared for the more important knowledge of character which is naturally the next step in the process of studying the drama.