sensorial attention. Try to attend steadfastly to a dot on the paper or on the wall. You presently find that one or the other of two things has happened: either your field of vision has become blurred, so that you now see nothing distinct at all, or else you have involuntarily ceased to look at the dot in question, and are looking at something else. But, if you ask yourself successive questions about the dot,-how big it is, how far, of what shape, what shade of color, etc.; in other words, if you turn it over, if you think of it in various ways, and along with various kinds of associates, you can keep your mind on it for a comparatively long time. This is what the genius does, in whose hands a given topic coruscates and grows. And this is what the teacher must do for every topic if he wishes to avoid too frequent appeals to voluntary attention of the coerced sort. In all respects, reliance upon such attention as this is a wasteful method, bringing bad temper and nervous wear and tear as well as imperfect results. The teacher who can get along by keeping spontaneous interest excited must be regarded as the teacher with the greatest skill.

There is, however, in all schoolroom work a large mass of material that must be dull and un

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exciting, and to which it is impossible in any continuous way to contribute an interest associatively derived. There are, therefore, certain external methods, which every teacher knows, of voluntarily arousing the attention from time to time and keeping it upon the subject. Mr. Fitch has a lecture on the art of securing attention, and he briefly passes these methods in review; the posture must be changed; places can be changed. Questions, after being answered singly, may occasionally be answered in concert. Elliptical questions may be asked, the pupil supplying the missing word. The teacher must pounce upon the most listless child and wake him up. The habit of prompt and ready response must be kept up. Recapitulations, illustrations, examples, novelty of order, and ruptures of routine,—all these are means for keeping the attention alive and contributing a little interest to a dull subject. Above all, the teacher must himself be alive and ready, and must use the contagion of his own example.

But, when all is said and done, the fact remains that some teachers have a naturally inspiring presence, and can make their exercises interesting, while others simply cannot. And psychology and general pedagogy here confess their failure, and

hand things over to the deeper springs of human personality to conduct the task.

A brief reference to the physiological theory of the attentive process may serve still further to elucidate these practical remarks, and confirm them by showing them from a slightly different point of view.

What is the attentive process, psychologically considered? Attention to an object is what takes place whenever that object most completely occupies the mind. For simplicity's sake suppose the object be an object of sensation,-a figure approaching us at a distance on the road. It is far off, barely perceptible, and hardly moving: we do not know with certainty whether it is a man or not. Such an object as this, if carelessly looked at, may hardly catch our attention at all. The optical impression may affect solely the marginal consciousness, while the mental focus keeps engaged with rival things. We may indeed not 'see' it till some one points it out. But, if so, how does he point it out? By his finger, and by describing its appearance,-by creating a premonitory image of where to look and of what to expect to see. This premonitory image is already an excitement

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of the same nerve-centres that are to be concerned with the impression. The impression comes, and excites them still further; and now the object enters the focus of the field, consciousness being sustained both by impression and by preliminary idea. But the maximum of attention to it is not yet reached. Although we see it, we may not care for it; it may suggest nothing important to us; and a rival stream of objects or of thoughts may quickly take our mind away. If, however, our companion defines it in a significant way, arouses in the mind a set of experiences to be apprehended from it,-names it an enemy or as a messenger of important tidings, the residual and marginal ideas now aroused, so far from being its rivals, become its associates and allies. They shoot together into one system with it; they converge upon it; they keep it steadily in focus; the mind attends to it with maximum power.

The attentive process, therefore, at its maximum may be physiologically symbolized by a brain-cell played on in two ways, from without and from within. Incoming currents from the periphery arouse it, and collateral currents from the centres of memory and imagination re-enforce these.

In this process the incoming impression is the

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newer element; the ideas which re-enforce and sustain it are among the older possessions of the mind. And the maximum of attention may then be said to be found whenever we have a systematic harmony or unification between the novel and the old. It is an odd circumstance that neither the old nor the new, by itself, is interesting: the absolutely old is insipid; the absolutely new makes no appeal at all. The old in the new is what claims the attention, the old with a slightly new turn. No one wants to hear a lecture on a subject completely disconnected with his previous knowledge, but we all like lectures on subjects of which we know a little already, just as, in the fashions, every year must bring its slight modification of last year's suit, but an abrupt jump from the fashion of one decade into another would be distasteful to the eye.

The genius of the interesting teacher consists in sympathetic divination of the sort of material with which the pupil's mind is likely to be already spontaneously engaged, and in the ingenuity which discovers paths of connection from that material to the matters to be newly learned. The principle is easy to grasp, but the accomplishment is difficult in the extreme. And a knowledge of