My view is that handwriting is an art, like sketching. My view is the better, for it includes his. I am a superior penman to him, and in a contest I could easily beat him. I really failed to see what he was worrying his head about. What does the style matter. It is the art that one puts into a style that makes writing good. I can teach the average bairn to write well in two hours; it is simply a matter of writing slowly. I like the old-schoolmaster hand, the round easy writing with its thick downstrokes and thin upstrokes. I like to see the m's with the joinings in the middle. The Times copy-book is the ideal one—to me. But why write down any more. The topic isn't worth the ink wasted.
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I picked up a copy of a Popular Educator to-day. Much of the stuff seems to be well written, but I cannot help thinking that the words "low ideals" are written over the whole set of volumes. Its aim is evidently to enable boys and girls to gain success ... as the world considers success. "Study hard," it blares forth, "and you will become a Whiteley or a Gamage. Study if you want wealth and position." What an ideal!
Let us have our Shorthand Classes, our Cookery Classes, our Typewriting Classes, but for any sake don't let us call them education. Education is thinking; it should deal with great thoughts, with the æsthetic things in life, with life itself. Commerce is the profiteer's god, but it is not mine. I want to teach my bairns how to live; the Popular Educator wants to teach them how to make a living. There is a distinction between the two ideals.
The Scotch Education Department would seem to have some of the Educator's aspirations. It demands Gardening, Woodwork, Cookery; in short, it is aiming at turning out practical men and women.
My objection to men and women is that they are too practical. I used to see a notice in Edinburgh: "John Brown, Practical Chimney Sweep." I often used to wonder what a theoretical chimney sweep might be, and I often wished I could meet one. My view is that a teacher should turn out theoretical sweeps, railwaymen, ploughmen, servants. Heaven knows they will get the practical part knocked into them soon enough.
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I have been experimenting with Drawing. I have been a passable black-and-white artist for many years, and the subject fascinates me. I see that drawing is of less importance than taste, and I find that I can get infants who cannot draw a line to make artistic pictures.
I commence with far-away objects—a clump of trees on the horizon. The child takes a BB pencil and blocks in the mass of trees. The result is a better picture than the calendar prints the bairns see at home.
Gradually I take nearer objects, and at length I reach what is called drawing. I ignore all vases and cubes and ellipses; my model is a school-bag or a cloak. The drawing does not matter very much; but I want to see the shadows stand out.