[r. s.] "radical stress;" [m. s.] "medial stress;' [v. s.] "vanishing stress;" [c.s.] "compound stress;" [th.s.] "thorough stress;" [8. 8.] "suppressed stress;" [tr.] "tremor;" [ef.s.] "effusive stress;" [expul. s.] “expulsive stress;" [explo. s.] "explosive stress." "Quality." + [h.q.] "harsh quality;" [sm. q.] "smooth quality;" [a.q.] "aspirated quality;" [pu. t.] "pure tone;" [p. q.] "pectoral quality;" [g. q.] "guttural quality;" [o. q.] "oral quality;" [oro. q.]"orotund quality." "Combinations." [h.g.q.] "harsh guttural quality;" [sm. p. q.]" smooth pectoral quality," etc. The above Key, though at first sight intricate, will occasion no serious difficulty to students who have read attentively the Sections on "Stress" and "Quality." The notation will be found of great service, not only by suggesting appropriate expression," which a young reader might otherwise overlook, but by enabling the pupil to prepare for the exercise of reading or declaiming, by previous study and practice. It is a humiliating fact that, in many schools, the sublimest and most beautiful strains of poetry-take, for example, Milton's invocation, 66 Hail, holy Light!"-are, from the neglect of "expressive tone," called out in the same voice with which a derk repeats the number or the mark on a bale of goods, or read with the "free and easy" modulation of a story told by the fireside; or, perhaps, with the pompous mouthing of the juvenile hero of a "spouting club," with the languishing tone of a sick person, or with the suppressed, half-whispering utterance of a conscious culprit. I will not stir, nor wi'nce, nor speak a wo`RD, Nor LOOK upon the irons | ángerly ; Thrust but these mén away, and I'll FORGIVE you, Whatever torments you do put me to. Terror. AWAKE AWAKE! RING the ALARUM BELL: MURDER! and TREASON! Rule 2.-Wonder and astonishment are expressed by "loud, high, and slow utterance;" "vanishing stress;" "aspirated" and slightly "guttural" "quality;" and prolonged "downward slide." Astonishment exceeds wonder, in the degree of these properties. Example of Wonder. What is't?-a spirit? See! how it looks about! Believe me, sir, A thing divine; for nothing natural Note.-Amazement, when it does not go to the utmost The notation of "expression" has been adopted with a view extreme, has a louder, but lower and slower utterance, than to the early formation of correct habit. RULES ON EXPRESSIVE TONE.. Rule 1.-The tones of anger, vexation, alarm, fear, and terror, have an utterance "extremely loud, high, and quick," "abrupt," and "explosive,”- -or sometimes marked by "expulsive" and by "vanishing" stress,-an "aspirated," "harsh," and " guttural" voice, and are characterised throughout by the "falling inflection." Example of Anger. He hath disgraced me, and hindered me of half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bàrgains, cooled my friends, heated mine ènemies: and what's his reason? I AM A JEW. Hath not a Jew éyes, hath not a Jew hands, órgans, dimensions, Bénses, affections, pássions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same méans, warmed and cooled by the same winter and summer as a CHRISTIAN is ? Vexation. Say you so? SA'Y you so ?-I say unto you again, you are a shallow, dbeardly hind, and you LIE. Our plot is a good plot as ever was laid; our friends true and CONSTANT; a GOOD PLOT, good friends, and full of expectation: an EXCELLENT plot, VERY good friends. What a FRO`STYSPIRITED rogue is this!-An I were now by this rascal, I could brain him with his LADY'S FAN.-Oh! I could DIVIDE myself, and go to BUFFETS, for moving such a DISH of SKIMMED MILK with so honourable an action! Gonzalo. I' the name of something hòly, sir, why stand you In this strange stàre ? [o] Alonzo. Oh! it is MONSTROUS! MÒNSTROUS ! Methought, the billows spoke, and told me of it; The winds did sing it to me; and the THUNDER, That deep and dreadful organ-pipe, pronounced The name of PROSPER; it did bàss my trespass! Rule 3.-Horror and extreme amazement have a "softened' force," an extremely "low" note, and "slow" movement, a suppressed stress," a deep "aspirated pectoral quality," and a prevailing "monotone." Example of Horror. Now, o'er one half the world Nature seems dèad; and wicked dreams abūse Whose howl's his watch, thûs with his stealthy pace, Extreme Amazement. Oh! answer me: Let me not bùrst in ignorance! but tell Hath ōped his ponderous and marble jaws, To cast thee up again! [o] What may this mean, " LESSONS IN PENMANSHIP.-XXX. OFFICIAL HANDWRITING.-III. THE accompanying model of official handwriting has been copied, by permission, from a specimen sheet of Treasury Journal Entries, annexed to one of the annual reports issued by Her Majesty's Civil Service Commissioners. It is inserted here to furnish our readers with a reliable example of the style of handwriting adopted for entries in the various accounts of the public income and expenditure kept in the different Government offices. It should be said, that the sheet of entries from which our model has been copied was sent from the Treasury at the request of the Commissioners, and inserted, with other specimens of Government correspondence, in the report, of which Our readers will readily understand that the specimen of handwriting which we have now brought under their notice forms merely a portion of the sheet of entries from which it is taken. It is a part of the central column. The narrow column on the left contains reference numbers-numbers, most probably, of folios in other books in which are entered the items which make up the gross totals inserted either on the debtor or creditor side, opposite the entries in the central column. On either side of this column are, firstly, the entries for reference numbers, one of which is shown in our model; and then, to the right and left of these reference columns, are columns for pounds, shillings, and pence, the whole forming a compendious balance-sheet. It may be as well to note that the difference between this and an ordinary balance-sheet is, that whereas in the latter, the debtor Exchequer Annuities. 153 Civil List 154 Annuities and Pensions. 215 Civil Contingencies. 219 Miscellaneous Votes. SPECIMEN OF OFFICIAL HANDWRITING SUITABLE FOR BOOKKEEPING IN GOVERNMENT OFFICES. it forms a part, for the purpose of showing candidates for the Civil Service the style of writing that they should endeavour to acquire for what we may call Government bookkeeping. "They may, we think," say the Commissioners, in giving their reason for inserting in their report the specimens to which we have referred, "be useful to those who are preparing for examination." Of this there can be no doubt whatever; but as the majority of those who may be intending to offer themselves as candidates for appointments in the Civil Service may neither have an opportunity of seeing the reports of the Commissioners on the one hand, nor care, on the other, to go to the expense of procuring them, we have endeavoured to supplement what has already been done in these reports for the guidance and instruction of candidates, by setting before our readers the specimens of official correspondence that have been given in previous lessons (see Lessons in Penmanship, XXVII., XXVIII., pages 33, 64), and the present model of official bookkeeping. and creditor sides of the accounts are written on opposite folios, or divided by a double line when on the same folio, as is often the case in printed statements of accounts, each series of pounds, shillings, and pence columns being on the right-hand side of the folio; while in the former, the entries, whether they belong to the debtor or creditor side of the account, are entered consecutively in the central column of the sheet, the figures belonging to the entries on the debtor side being inserted in the pounds, shillings, and pence columns on the left, while the figures belonging to the entries on the creditor side are placed in the pounds, shillings, and pence columns on the right. There is no occasion for us to speak at length of the pect liarities of the style of the handwriting shown in our model It differs but little from the ordinary style adopted for copies in round-hand and small-hand, the chief point of difference being that the capitals are rather smaller in proportion to the size of the small letters. LESSONS IN ARCHITECTURE.-V. ANCIENT ARCHITECTURE OF PERSIA-GREEK ARCHITECTURETHE PARTHENON-DORIC ORDER OF ARCHITECTURE. SIMILAR to the excavated temples of India, are the excavated tombs of Persepolis and Nakshi-Roustam. At the foot of the rock of Istakhr, thirty miles south of Shiraz, stand the ruins of Persepolis, once the capital of the ancient and powerful Persian empire. The platform, which first strikes the eye of the traveller, appears to have been surrounded by a triple wall: of the first two, as described by ancient historians, no trace now remains; but the third, which still exists, is a square cut in the mountain, and is 60 cubits high. It is defended by palisades of copper, with doors of the same, 20 cubits high. The first wall was to inspire awe, the second was for strength, and the third for the defence of the palace. To the east of this, at the distance of 400 feet, is the royal mountain containing the tombs of the kings. Here the rock is hollowed out into several chambers, to gain the entrance to which the coffins are hoisted up by machinery; no other way of ascending them exists. This sacred enclosure, connected with the platform below, comes within the bounds of what may be called the castellated palace. The illustration below is a sketch of one of the tombs in the Shah Kuh or Royal Mountain. The four most elevated are executed in a superior style, and apparently co-eval with Persepolis, and belonging to the early kings of Persia. The lower tombs appear to belong to the period of the Sassanian dynasty, and therefore to a considerably later period. The description of these remarkable tombs will remind us of the "new tomb" of Joseph of Arimathea, "which he had hewn out in the rock," and of the "great stone" which was rolled to "the door of the sepulchre, wherein was never man yet laid," till the "King of kings" himself became the tenant of its walls. It explains also the meaning of the passage REMAINS OF THE PARTHENON AT ATHENS. On the ground above appear several mounds and rocky heaps, presenting the appearance of three distinct lines of walls and towns. The steep faces of this rocky palace are formed of dark-grey marble, cut into gigantic square blocks, exquisitely polished, and, without the aid of mortar, fitted to each other with such closeness and precision, that the whole platform must have appeared as part of the rock itself. On the interior faces of the walls of the platform within the portal, are sculptured two colossal bulls, symbolical of power, and suitably placed at the gate of the palace of the great king. South of the portal appears the magnificent terrace which supports the Hall of Columns. This series of columns is called Chel Minar, or palace of forty columns, and is approached by a flight of steps remarkable for their grandeur and the beauty of their decoration. But the columns themselves are the most surprising in these respects; they are each 60 feet high, the circumference of the shaft being 16 feet, and the distance from the capital at the top of the shaft to the bottom 44 feet. The shaft is. finely fluted in 32 divisions; at its lower extremity begin a cincture and a torus-the first two inches deep, and the latter one foot-whence devolves the pedestal in the form of the cap and leaves of a lotus or lily. This "she stooped down and looked into After this short digression, we proceed to remark that the latest monuments discovered at Khorsabad, near Nineveh, having exhibited no example of a column or even of isolated pillars, no comparison can be instituted between the column constructed by the Assyrians, if they did erect any, and those of the other people of Asia. The nations we have named in our preceding observations were in the height of civilisation, while the Grecian arts were in their cradle; and it is difficult to admit that the Greeks had not learned their first lessons in, architecture by the study of the Asiatic or African orders which we have described. In fact, the most ancient type of the Greek orders, the Doric, particularly at its commencement, is nearly the same as that exhibited in the tombs of the Heptanomis, and which Champollion called Proto-Doric or primitive Doric. The genius of Greece developed this first idea, enriched it with details which the Egyptians had neglected, and formed out of it the first basis of its national architecture. The principal character of the Greek Doric is the nobleness and dignity of the whole order, the severe simplicity of its details, and the moderation of its ornaments. The columns have no base; the shaft is ornamented by wide and shallow flutings; the capital is composed of a large moulding in the form of a cup or flat vase, which rests upon two or three little fillets, and is surmounted by a square tablet. The triglyphs, the fluted ornaments at the extremity of the architraves, which are seen in the frieze and entablature, belong exclusively to this order; the square spaces or metopes between the triglyphs are frequently occupied with sculptures of isolated subjects; but the polished frieze, and consequently the continued subject, are in this order very rare. Still this order does not exclude all decoration; and in buildings of a common character it loses its heaviness, and becomes very elegant; the mouldings then become finer, and some are decorated with various ornaments. An example of the Doric column is given in the next page. TOMB AT PERSEPOLIS. rests on a plinth of eight inches, and in circumference 24 feet 6 inches, the whole from the cincture to the plinth being 5 feet 10 inches in height. The capitals which remain, though much injured, are sufficient to show that they were surmounted by the demi-bull. The heads of the bulls forming the capitals look to the various fronts of the terrace. But it is impossible in our limited space to indulge in the details of these extraordinary ruins; we can only refer our readers to the works which contain fuller descriptions of them, as those of Le Bruyn, Sir William Ouseley, Sir Robert Ker Porter, and others. A few miles distant from Persepolis stands the excavated hill of Nakshi-Roustam. It is about 1,200 feet high, and presents a precipitous face of whitish marble, nearly the whole of which is covered with sculptured tombs. VOL. 11. According to Vitruvius, it was in the temple of Juno, at Argos, where the Doric order of architecture first rose to a marked eminence, and became the model for the magnificent edifices afterwards erected throughout Greece. It was next employed in the temple of Jupiter Nemeus, at Nemea, between Argos and Corinth; of Jupiter Olympius, at Olympia, in Elis, in a splendid triple portico in the city of Elis; and in three temples of the same city-namely, those of Juno, Minerva, and 35 1. Flee cares. EXERCISE 6.-ENGLISH-GREEK. 2. Baseness begets dishonour. 3. Virtue follows fame. 4. They bear poverty easily. 5. Poverty is 8. Abstain from baseness. 9. They have a beautiful robe. 10. borne easily. 6. You bear poverty easily. 7. Thou hast changes. Do not yield to fortune. 11. They yield to fortune readily. 12. Do ye restrain (hold back) the tongue (that is, in English, your tongue). 13. Wrong judgments are made right. Having in the previous lesson treated of feminine nouns of the first declension, I now pass on to MASCULINE NOUNS OF THE FIRST DECLENSION. Dindymene or Cybele ; at Eleusis, in the great temple to Ceres, 9. Η τυχη πολλακις μεταβολας εχει. 10. Την πενίαν φέρετε. in the temple of Minerva at Sunium; and in the temple of the 11. A. λauπpai Tvxαi padiwS WINTOVOIY. 12. Φερε τας τύχας. 13. same goddess at Athens, called the Parthenon ; in the entrance | Η αρετη ουκ είκει ταις τυχαίς. 14. Απέχεσθε των χαλεπων μεριμ to the Acropolis, and in other public buildings of great magni- vwv. 15. Η βασιλεια λαμπραν βασιλειαν εχει. 16. Η στολή εστι tude and splendour at Athens. In many of the islands of καλη. 17. Καλας στολάς έχομεν. Greece and Magna Græcia, there were also temples of the Doric style of architecture, as that of Apollo, in Delos; of Juno, in Samos; of Jupiter Panhellenius, of Egina, and of Silenus, in Sicily; and many others in places of inferior note. Many of these temples were of great magnitude. They were universally of an oblong form. In some the porticoes were only at the end, in others they were extended right round the interior of the building, some in single, and others in double ranges. Some were covered with roofs, others were left partly uncovered, and some were divided by ranges of pillars along the middle of the interior. The superstructure was placed upon a platform composed of three steps, which surrounded the whole building, and upon which the columns were all placed without bases. The number of columns were either six along the ends, and thirteen along the sides, or eight along the ends, and seventeen along the sides. When built upon so large a scale, with the ranges of columns so distinctly isolated, the essential parts of the Doric order produced effects not surpassed for simplicity and majesty; and even the imperfect remains which have escaped the ravages of time and barbarity appear to have far exceeded the expectations of connoisseurs. In the earlier examples of this order the diameters of the Doric columns were very considerable in proportion to their height. For instance, the column of the temple of Silenus, in Sicily, was only five diameters in height, but in the course of time these relative dimensions | were changed, and a proportion more adapted to the production of delicate effect was introduced. The Doric style of architecture was, with very few exceptions, the only one employed in Greece or its European colonies in Sicily, and Italy, and in Asia Minor, until after the period of the Macedonian conquest In Asia Minor, and particularly in Ionia, there speedily arose, subsequent to that period, an order of architecture more elegant than the Doric. But our notice of this order must form the subject of our next lesson. DORIC COLUMN. A citizen. Sing. Nom. πολίτης. Mercury. A youth, νεανιάς. Gen. πολίτου. Ερμού. νεάνιου. Dat.' πολίτῃ. 'Epun. 3. In names of nations in ns, as Пepons, a Persian, Пepoa Several nouns in as have the genitive that is customary is the Doric dialect,* ending in a, е.g., πатраλojās, -a, the slayer a father; untpaλoias, -a, the slayer of a mother; opritatapas, (also ov), a bird-catcher; also several proper names, as Zules, à Sylla; finally, contracted nouns in as, as Boppas (from Bopecs, genitive Boppa, the north wind. According to these models decline adjectives of one term nation, in ns and as-e.g., ebeλovtns woλitns, a willing citizen; μόνιας νεανίας, a lonely youth. A masculine noun and adjective of the first declension are inflected thus: The "Doric dialect" was a form of the Greek tongue employed by the Dorians. As Greece was divided into several small states, there were several dialects, such as the Doric, the Iouie, the Atti These dialects must be distinguished from our provincialisms, for they were in their own locality severally classical. The Attic, however, in the generally recognised form of the Greek tongue in its highest perfect and the writings of Xenophon (Attic) are accounted the model for pe in Greek, as Cicero's writings are held to be the model for Latis pros Ακουω (with Gen. or Acc.), I hear. Ακροάτης, -ου, δ, ε hearer. VOCABULARY. sea. Θεάτης, -ou, d, a EXERCISE 4.-ENGLISH-GREEK. ESSAYS ON LIFE AND DUTY.-VII. 12. Αδολεσχης, -ου, δ, a. Θαλαττα, ης, ή, the | Ορεγομαι, I reach 1. Απέχον της βίας. 2. Απέχεται της βίας. 3. Ουκ απέχεται της βίας. 4. chatterer. towards, strive | Απέχονται της βίας. 5. Φευγε την αδικίαν, 6. Φεύγετε την αδικίαν. 7. Φεύγω after (with Gen.). την αδικίαν ὡς μανιάν, & Η βία λύπην επαγει. θ. Δια δικης γίγνεται ήδονη. Πρεπει, it becomes, 10. Αληθιναι φιλιά, δια αρετής γίγνονται. 11. Η καρδιά πενία τείρεται. it is proper. Αἱ μερίμναι λύονται τη λυρα. Προσηκει, it is suit able. Zopia,-as,, wisdom. Zαρтiāтηs, -ov, d, a Spartan. Zußapirns, -ov, 8, a Sybarite. Texvn, -ns, ǹ, art. Τρυφητης, -ου, δ, ε voluptuary. Βλαπτω, I injure. spectator (Eng. EXERCISE 7.-Greek-ENGLISH. 1. Μανθανε, ω νεανια, την σοφίαν. 2. Πολιτῃ πρέπει ευκοσμία. 3. Την νεανιου αδολεσχίαν ψεγομεν. 4, Φευγε, ω πολίτα, την αδικιαν. 5. Την ορνιθοθηρα τεχνην θαυμαζομεν. 6. Ακροαταις και θεαταις προσηκει ήσυχίαν αγειν. 7. Φεύγετε, ω ναυται, βορέαν. 8. Βορίας ναυτας πολλακις βλαπτει. 9. Ορεγεσθε, ω πολίται, της αρετης. 10. Συβαρίται τρυφηται ησαν. 11. NavTais μEXEL Tns θαλαττης. 12. Φευγε, ω Περσα. 13. ZnaρTIATαι каλŋν doğaν έχουσιν. 14. Φευγω νεανιαν τρυφητην, 15. Twv adoλeaxwv απέχου. 16. Ακουε, ω δεσποτα. EXERCISE 8.-ENGLISH-GREEK. 1. Flee, O Persians. 2. Bravery becomes citizens. 3. It concerns a citizen to be quiet. 4. O youths, learn wisdom. 5. They learn wisdom. 6. You learn wisdom. 7. I learn wisdom. 8. Wisdom is learned. 9. Decorum becomes a youth. 10. O north wind, injure not the sailor. 11. O sailor, avoid (pevy) the north wind. 12. The north wind is avoided. 13. O Spartan, strive after glory. 14. Chatterers, be quiet. 15. Abstain from a chatterer. 3. 1. Η Σπαρτιατων αρετη θαυμαστη ην. 2. Φευγε, ω νεανια. Φεύγετε, ω ερασται. 4. Οἱ κλεπται φεύγονται. 5. Κριταις πρεπει δικαιοσυνη. 6. Εστι των στρατιωτων περι των πολιτων μαχεσθαι. 7. Φευγε ψευστας. 8. Εστι δεσπότου επιμελεσθαι των οικετών. 9. Μη πιστευε ψευστη. 10. Τεχνίτην τρεφει ἡ τεχνη. 11. EK ψευστων γιγνονται κλεπται. 12. Σπαρτιαται δοξης και τιμης ερασται ησαν. 13. Ek Boрpā worλakis yiyveтai vavayia. 14. Θαυμάζομεν την Ερμου τεχνην. EXERCISE 10.-ENGLISH-GREEK. 1. The lovers of glory flee not. 2. Liars are not lovers of virtue. 3. The virtue of the Spartan was admirable. 4. O Spartans, believe not liars. 5. The art of (Mercury) Hermes was admirable. 6. We admire the virtue of the Spartans. 7. O Spartan, avoid a liar. 8. It is the duty of a master to care for his servant. 9. It is the duty of servants to care for masters. 10. The arts nourish the artists. 11. It becomes the soldiers UNSELFISHNESS. No character has in it any moral worth or beauty unless there be in its outworkings a manifest consideration for others. We live in a world where we are mutually interested and dependent, and no man can live to himself alone without damaging his own interests quite as much as he damages the interests of others. Those words in the English language which speak of the highest happiness-such as transport and ecstacy-come, the one from a Latin compound, and the other from a Greek word which mean to be lifted out of ourselves. And, most certainly, any acquaintance with human life shows us that the selfish are seldom happy, and that the considerate and unselfish are commonly 80. Selfishness is an evil to be especially guarded against, inasmuch as its growth is so rapidly developed. The I and the Me, and the My and the Mine, so often heard in conversation, bespeak very often an undue concern about self which has been the slow development of a long course of time: while, on the other hand, it is equally certain that an unselfish disposition is the result of much culture and care, and becomes habitual only through continuous exercises in the school of self-denial. What, then, it may be asked, is in the main unselfishness? It is the subordination, not the extinction, of natural inclinations for the good of others. Self-denial at some times, and self-abnegation at others, is necessary for that consideration for another's weal which constitutes an unselfish person. When Sir Philip Sidney, on the battle-field of Zutphen, was borne away dying from the conflict, he had just placed a cup of cold water to his lips, when there was carried past him a wounded soldier, who looked with longing eyes on the draught of the more favoured Sidney. He withdrew his lips, and instead of drinking himself, gave the cup to the poor maimed soldier, with the simple utterance, "Thy necessity is yet greater than mine." That was an illustrious instance of unselfishness, and does honour to his character in the sphere of heroic deeds more than the most brilliant passage of arms. But it may be asked, does not unselfishness clash with that proper self-love which is essential to the growth and development of civilisation? To which query it may be replied, that unselfish consideration for others is quite consistent with the honour and advancement of ourselves; as the higher and wider the sphere of our life, the more opportunities are afforded for the generous exercises of an unselfsh spirit. Unselfishness is the secret of much real happiness. The selfish are often morbid and miserable concerning their own health or fortune, and become so susceptible about every insidious attack of disease, lest it should enter the fortress of their nature, that by their very intensity of anxiety, unconsciously to themselves, they do their best to let the enemy in; with others there is often life becomes a feverish state of hope and fear. The unselfish, in so much susceptibility to praise or blame, honour or insult, that thinking about others as well as themselves, necessarily have their thoughts driven from their own anxieties and their own ailments, and so, becoming interested in the common weal, are less particular and sensitive concerning matters which affect themselves alone. Unselfishness is also the secret of true esteem and respect so to fight for the citizens. 12. Be quiet; O north wind. 13. I precious to most men. We ought not, indeed, to let that operate admire Mercury. KEY TO EXERCISES IN LESSONS IN GREEK.-IV. EXERCISE 3.-GREEK-ENGLISH. 1. Yield not to force. 2. The lyre dissipates cares. 3. Friendship promises refuge and aid. 4. Care corrodes the heart. 5. Worship (cultivate) the Muses. 6. Do not believe false accusations. 7. Justice often yields to injustice. 8. We are often worn down by hard (severe) poverty. 9. Flee from (avoid) talkativeness. 10. Wickedness brings grief. 11. Luxury begets injustice and avarice. 12. Avoid luxury as a shame (or a bane). 13. True friendship arises through (from) virtue and intercourse. as a motive power, or selfishness would be actually present in the latent desire to gain the honour of men; but we cannot exclude from our considerations the fact that rewards of the highest kind do fall upon the hearts of the unselfish, not only in the joys of doing good, but in the love and veneration of mankind. As unselfishness may very early form part of the training of childhood, so selfishness, at an earlier period, perhaps, than most people think, begins to be germinant in the breast of the young. The petulant moods of childhood ought not to be met by the gratification of their wishes and desires, but in the initial stages of child experience they ought to learn the lesson of giving |