and produce new states of thought and emotion. For the greatest part their effect is dissipated and exhausted in these subjective experiences, not without residual effect on character. As motives of action, these impulses of the emotions produced by artistic devices do not stand in good repute in the experience of mankind. Why? Because they contain no knowledge or foresight, and therefore no guarantee of consequences. It belongs to education to train men and women to criticize and withstand impulses of this class. Pictures of scenes or objects, instead of inciting to action, ought to act upon an educated person as warnings to distrust the influence to which he is exposed. It is not possible to cross-examine a picture, even if it is a photograph.
A good education would, in a similar manner, teach its pupils to resist the magnetism of a crowd and the seductions of popularity. When a crowd, of which one is a member, are enthused with a common sentiment and purpose, it is impossible to resist the influence of it. Hence the well-known fact that men who act in a crowd often look back later in astonishment at their own actions; they cannot understand how they came to participate in the things which were done. Education ought to train us so that when we are in a crowd which is being swept away by a motive, we should refuse to join, and should instead go away to think over the probable consequences. In like manner popularity, which seems now to be the grand standard of action, is always to be distrusted. "Woe unto you when all men speak well of you." That is the time to take warning that you are probably going astray. It is very smooth and easy to run with the current and it involves no responsibility for the consequences. Who then will consider the consequences? They will come. All our reason, study,
