Neither grammar then, nor rhetoric, nor any kind of misguided preceptive teaching should be allowed to introduce into the school the menace of realism which lurks naturally in the shadow of all prescriptive systems. A precept is a mere historical indication, a sign which points to something that was done as to something that had to be done then and is to be done now. It was done and it was thought that it had to be done. But what was done cannot be done over again, and what was thought cannot again be thought. Life knows no past other than the one which it contains within its living present. The precept has no value excepting as that precept which we in every single instance intuit, and which we must intuit, being spiritually alive and free, as the peculiar form of _our_ thought, of our speaking, of our doing, of our being, in short, which is our becoming. If we look upon a precept as transcending this becoming, and as an antecedent to it, we misapprehend and therefore imperil our indwelling freedom, which for us now ought to mean not simply the failure to foster the growth of the spirit, but a deliberate attempt to hinder and thwart its development and to blight the function of culture. One more prejudice of those imputed to realistic instruction must still be pointed out, and it will be the last. It is one of those time-worn devices whose history, extending over a thousand years, reflects the entire life of the school--the composition. Teachers expect and demand that a predetermined and definite theme, as a nucleus of a thought organism, as _leit-motif_, so to speak, of a work of art, as a ruling principle for moral or speculative reflections, be developed by pupils who may yet have never given the topic a single thought, who may possibly be not at all attuned to that definite spiritual vibration, who may in short be quite removed from the line along which the theme should be developed. In the lower grades the line itself is marked, the entire contour is given, and the pupil's mind is arbitrarily encompassed within this fixed outline. These methods are now fortunately applied with diminished rigour and less crudely than before. But the fact remains that in all classes the teacher either assigns a theme at random, picking a topic from a casual reading or from among the whims of his rambling fancy, or else he conscientiously and carefully studies the possibilities of a subject, and develops it to a certain extent before he assigns it; so that he naturally expects the pupil's treatment to conform to his own delineation; and he values the composition in proportion as it approaches the rough draft which he had previously sketched in his mind.