gain, through his handling of it, a body of facts.  This increases his knowledge and strengthens his intellect.  And it is to be remembered that, for the child’s all-round development, the appeal of literature to the intellect is a value to be emphasized equally with the appeal to the emotions and to the imagination.  Speaking of the nature of the intellect in his essay on Intellect, Emerson has said:  “We do not determine what we will think.  We only open our senses, clear away as we can all obstruction from the fact, and suffer the intellect to see.”  Attention to the intellectual element in literature gives a power of thought.  The consideration of the truth of the fairy tale aids the child to clear, definite thinking because the experience of the tale is ordered from a beginning, through a development, to a climax, and to a conclusion.  It assists him to form conclusions because it presents results of circumstances and consequences of conduct.  Continued attention to the facts, knowledge, and truth presented in the tales, helps the child to grow a sincerity of spirit.  This leads to that love of actual truth, which is one of the armors of middle life, against which false opinion falls harmless.

(4) A form, more or less perfect.  Form is the union of all the means which the writer employs to convey his thought and emotion to the reader.  Flaubert has said, “Among all the expressions of the world there is but one, one form, one mode, to express what I want to say.”—­“Say what you have to say, what you have a will to say, in the simplest, the most direct and exact manner possible, with no surplusage,” Walter Pater has spoken.  Then the form and the matter will fit each other so perfectly there will be no unnecessary adornment.

In regard to form it is to be remembered that feeling is best awakened incidentally by suggestion.  Words are the instruments, the medium of the writer.  Words have two powers:  the power to name what they mean, or denotation; and the power to suggest what they imply, or connotation.  Words have the power of connotation in two ways:  They may mean more than they say or they may produce emotional effect not only from meaning but also from sound.  To make these two suggestive powers of words work together is the perfect art of Milton.  Pope describes for us the relation of sound to sense in a few lines which themselves illustrate the point:—­

     Soft is the strain when zephyr gently blows,
     And the smooth stream in smoother numbers flows. 
     But when loud surges lash the sounding shore,
     The hoarse, rough verse, should like the torrent roar. 
     When Ajax strives some rock’s vast weight to throw. 
     The line too labors, and the words move slow: 
     Not so when swift Camilla scours the plain,
     Flies o’er the unbending corn and skims along the main.