Nevertheless, except for the drawback of the other children seeing a picture which might be inferior to their own mental vision, I should quite approve of such experiments, as long as they are not taken as literal data of what the children have really received. It would, however, be better not to have the picture drawn on a blackboard but at the child's private desk, to be seen by the teacher and not, unless the picture were exceptionally good, to be shown to the other children. One of the best effects of such an experiment would be to show a child how difficult it is to give the impression one wishes to record, and which would enable him later on to appreciate the beauty of such work in the hands of a finished artist. I can anticipate the jeers with which such remarks would be received by the Futurist School, but, according to their own theory, I ought to be allowed to express the matter _as I see it_, however faulty the vision may appear to them.[49] QUESTION IX: _In what way can the dramatic method of story-telling be used in ordinary class teaching_? This is too large a question to answer fully in so general a survey as this work, but I should like to give one or two examples as to how the element of story-telling could be introduced. I have always thought that the only way in which we could make either a history or literature lesson live, so as to take a real hold on the mind of the pupil at any age, would be that, instead of offering lists of events, crowded into the fictitious area of one reign, one should take a single event, say in one lesson out of five, and give it in the most splendid language and in the most dramatic manner. To come to a concrete example: Supposing that one is talking to the class of Greece, either in connection with its history, its geography or its literature, could any mere accumulation of facts give a clearer idea of the life of the people than a dramatically told story from Homer, Aeschylus, Sophocles or Euripides? What in the history of Iceland could give any more graphic idea of the whole character of the life and customs of the inhabitants than one of the famous sagas, such as "The Burning of Njal" or "The Death of Gunnar"? In teaching the history of Spain, what could make the pupils understand better the spirit of knight-errantry, its faults and its qualities, than a recital from "Don Quixote" or from the tale of "The Cid"? In a word, the stories must appeal so vividly to the imagination that they will light up the whole period of history which we wish them to illustrate and keep it alive in the memory for all time. But quite apart from the dramatic presentation of history, there are very great possibilities for the short story introduced into the portrait of some great personage, insignificant in itself, but which throws a sudden sidelight on his character, showing the mind behind the actual deeds; this is what I mean by using the dramatic method.