ning
what selections to use and how far to carry the method. A good general
principle to follow is to present to the children only so much as will
hold their interest; present it in the manner that will best retain
their interest, and change the subject or the method when interest
flags.

Speaking in general terms, children are most interested in that of which
they already know something, and prefer to study intensively something
which is "easy to read." The familiar selections of old readers often
are found to be alive with interest, if studied by a new method. A
method is understood most easily when it is applied to a simple subject;
in this case, to a story in which the youngest children will be
interested. A word of caution may be worth while: Especially with young
children,--"Do not let the method be seen; it is the _story_ that is to
be brought out."

It is evident that the Plot, the Persons and the Scenes of the story
will interest children of all ages; that all will be benefited by the
Lesson if it is judiciously presented; but that only the older
children can be interested to any great extent in the Author's
Purpose, Method or Style or in the study of the Emotional Power of the
selection, however much it may be felt.

[Illustration: BENJAMIN FRANKLIN
HENRY DAVID THOREAU
JULIA WARD HOWE
PATRICK HENRY
WILLIAM PRESCOTT
FRANCIS PARKMAN
JAMES FENIMORE COOPER]

A. The Plot

The main line of events leading up to the climax of interest in the
story may be called the plot.

It is the plot that furnishes excitement, and for perhaps the majority
of readers constitutes the chief interest. In some stories the plot lies
upon the surface all the time, and everything is made subservient to the
purpose of holding interest, keeping up excitement and mystifying the
reader until the climax is reached. Thrilling detective stories of the
poorer class, exciting love stories and the cheap juvenile tales of
Indian fighting, with heroines in dire distress and heroes struggling to
rescue them, are illustrations of this type. No effort is made by the
author to make real human beings of his characters, and little or no
profit comes to the reader, while infinite harm may be done to minds
craving excitement and finding in it nothing to stimulate an interest in
better things.

In the better stories of greater writers the plot still plays an
important part, but while it sustains interest unflaggingly, it carries