Character is not a thing, but a process; it is the succession of our thoughts and acts from hour to hour. It is not something which we can hoard and protect and polish unto a more perfect day, but it is the everyday self in the process of living. And the only way in which it can be made or marred is through the nature of this stream of thoughts and acts which constitute the day's life--is through _being_ or _doing_ well or ill. TWO LINES OF DEVELOPMENT.--The cultivation of character must, then, ignore neither of these two lines. To neglect the first is to forget that it is out of the abundance of the heart that the mouth speaks; that a corrupt tree cannot bring forth good fruit; that the act is the true index of the soul. To omit the second is to leave the character half formed, the will weak, and the life inefficient and barren of results. The mind must be supplied with noble ideas and high ideals, with right emotions and worthy ambitions. On the other hand, the proper connection must be established between these mental states and appropriate acts. And the acts must finally grow into habits, so that we naturally and inevitably translate our ideas and ideals, our emotions and ambitions into deeds. Our character must be strong not in thought and feeling alone, but also in the power to return to the world its finished product in the form of service. 4. PROBLEMS IN INTROSPECTION AND OBSERVATION 1. Do you find that you understand better some difficult point or problem after you have succeeded in stating it? Do you remember better what you have expressed? 2. In which particular ones of your studies do you think you could have done better if you had been given more opportunity for expression? Explain the psychology of the maxim, we learn to do by doing. 3. Observe various schools at work for the purpose of determining whether opportunities for expression in the recitations are adequate. Have you ever seen a class when listless from listening liven up when they were given something to _do_ themselves? 4. Make a study of the types of laughter you hear. Why is some laughter much more pleasant than other laughter? What did a noted sculptor mean when he said that a smile at the eyes cannot be depended upon as can one at the mouth? 5. What examples have you observed in children's plays showing their love for dramatic representation? What handicrafts are the most suitable for children of primary grades? for the grammar school? for the high school? 6. Do you number those among your acquaintance who seem bright enough, so far as learning is concerned, but who cannot get anything accomplished? Is the trouble on the expression side of their character? What are you doing about your own powers of expression? Are you seeking to cultivate expression in new lines? Is there danger in attempting too many lines? INDEX Action, automatic, 275 classes of, 273 factors involved in, 59 reflex, 274 volitional, 276 Activity, necessity for motor, 56