The Complete Essays of Charles Dudley Warner

by Charles Dudley Warner

Now, this radical defect can be easily remedied if the school authorities only clearly apprehend one truth, and that is that the minds of children of tender age can be as readily interested and permanently interested in good literature as in the dreary feebleness of the juvenile reader. The mind of the ordinary child should not be judged by the mind that produces stuff of this sort: “Little Jimmy had a little white pig.” “Did the little pig know Jimmy?” “Yes, the little pig knew Jimmy, and would come when he called.” “How did little Jimmy know his pig from the other little pigs?” “By the twist in his tail.” (“Children,” asks the teacher, “what is the meaning of 'twist'?”) “Jimmy liked to stride the little pig's back.” “Would the little pig let him?” “Yes, when he was absorbed eating his dinner.” (“Children, what is the meaning of 'absorbed'?”) And so on.

This intellectual exercise is, perhaps, read to children who have not got far enough in “word-building” to read themselves about little Jimmy and his absorbed pig. It may be continued, together with word-learning, until the children are able to say (is it reading?) the entire volume of this precious stuff. To what end? The children are only languidly interested; their minds are not awakened; the imagination is not appealed to; they have learned nothing, except probably some new words, which are learned as signs. Often children have only one book even of this sort, at which they are kept until they learn it through by heart, and they have been heard to “read” it with the book bottom side up or shut! All these books cultivate inattention and intellectual vacancy. They are—the best of them—only reading exercises; and reading is not perceived to have any sort of value. The child is not taught to think, and not a step is taken in informing him of his relation to the world about him. His education is not begun.

Now it happens that children go on with this sort of reading and the ordinary text-books through the grades of the district school into the high school, and come to the ages of seventeen and eighteen without the least conception of literature, or of art, or of the continuity of the relations of history; are ignorant of the great names which illuminate the ages; have never heard of Socrates, or of Phidias, or of Titian; do not know whether Franklin was an Englishman or an American; would be puzzled to say whether it was Ben Franklin or Ben Jonson who invented lightning—think it was Ben Somebody; cannot tell whether they lived before or after Christ, and indeed never have thought that anything happened before the time of Christ; do not know who was on the throne of Spain when Columbus discovered America—and so on. These are not imagined instances. The children referred to are in good circumstances and have had fairly intelligent associations, but their education has been intrusted to the schools. They know nothing except their text-books, and they know these simply for the purpose of examination. Such pupils come to the age of eighteen with not only no taste for the best reading, for the reading of books, but without the ability to be interested even in fiction of the first class, because it is full of allusions that convey nothing to their minds. The stories they read, if they read at all—the novels, so called, that they have been brought up on—are the diluted and feeble fictions that flood the country, and that scarcely rise above the intellectual level of Jimmy and the absorbed pig.

It has been demonstrated by experiment that it is as easy to begin with good literature as with the sort of reading described. It makes little difference where the beginning is made. Any good book, any real book, is an open door into the wide field of literature; that is to say, of history—that is to say, of interest in the entire human race. Read to children of tender years, the same day, the story of Jimmy and a Greek myth, or an episode from the “Odyssey,” or any genuine bit of human nature and life; and ask the children next day which they wish to hear again. Almost all of them will call for the repetition of the real thing, the verity of which they recognize, and which has appealed to their imaginations. But this is not all. If the subject is a Greek myth, they speedily come to comprehend its meaning, and by the aid of the teacher to trace its development elsewhere, to understand its historic significance, to have the mind filled with images of beauty, and wonder. Is it the Homeric story of Nausicaa? What a picture! How speedily Greek history opens to the mind! How readily the children acquire knowledge of the great historic names, and see how their deeds and their thoughts are related to our deeds and our thoughts! It is as easy to know about Socrates as about Franklin and General Grant. Having the mind open to other times and to the significance of great men in history, how much more clearly they comprehend Franklin and Grant and Lincoln! Nor is this all. The young mind is open to noble thoughts, to high conceptions; it follows by association easily along the historic and literary line; and not only do great names and fine pieces of literature become familiar, but the meaning of the continual life in the world begins to be apprehended. This is not at all a fancy sketch. The writer has seen the whole assembly of pupils in a school of six hundred, of all the eight grades, intelligently interested in a talk which contained classical and literary allusions that would have been incomprehensible to an ordinary school brought up on the ordinary readers and text-books.

But the reading need not be confined to the classics nor to the master-pieces of literature. Natural history—generally the most fascinating of subjects—can be taught; interest in flowers and trees and birds and the habits of animals can be awakened by reading the essays of literary men on these topics as they never can be by the dry text-books. The point I wish to make is that real literature for the young, literature which is almost absolutely neglected in the public schools, except in a scrappy way as a reading exercise, is the best open door to the development of the mind and to knowledge of all sorts. The unfolding of a Greek myth leads directly to art, to love of beauty, to knowledge of history, to an understanding of ourselves. But whatever the beginning is, whether a classic myth, a Homeric epic, a play of Sophocles, the story of the life and death of Socrates, a mediaeval legend, or any genuine piece of literature from the time of Virgil down to our own, it may not so much matter (except that it is better to begin with the ancients in order to gain a proper perspective) whatever the beginning is, it should be the best literature. The best is not too good for the youngest child. Simplicity, which commonly characterizes greatness, is of course essential. But never was a greater mistake made than in thinking that a youthful mind needs watering with the slops ordinarily fed to it. Even children in the kindergarten are eager for Whittier's “Barefoot Boy” and Longfellow's “Hiawatha.” It requires, I repeat, little more pains to create a good taste in reading than a bad taste.

It would seem that in the complete organization of the public schools all education of the pupil is turned over to them as it was not formerly, and it is possible that in the stress of text-book education there is no time for reading at home. The competent teachers contend not merely with the difficulty of the lack of books and the deficiencies of those in use, but with the more serious difficulty of the erroneous ideas of the function of text-books. They will cease to be a commercial commodity of so much value as now when teachers teach. If it is true that there is no time for reading at home, we can account for the deplorable lack of taste in the great mass of the reading public educated at the common schools; and we can see exactly what the remedy should be—namely, the teaching of the literature at the beginning of school life, and following it up broadly and intelligently during the whole school period. It will not crowd out anything else, because it underlies everything. After many years of perversion and neglect, to take up the study of literature in a comprehensive text-book, as if it were to be learned—like arithmetic, is a ludicrous proceeding. This, is not teaching literature nor giving the scholar a love of good reading. It is merely stuffing the mind with names and dates, which are not seen to have any relation to present life, and which speedily fade out of the mind. The love of literature is not to be attained in this way, nor in any way except by reading the best literature.

The notion that literature can be taken up as a branch of education, and learned at the proper time and when studies permit, is one of the most farcical in our scheme of education. It is only matched in absurdity by the other current idea, that literature is something separate and apart from general knowledge. Here is the whole body of accumulated thought and experience of all the ages, which indeed forms our present life and explains it, existing partly in tradition and training, but more largely in books; and most teachers think, and most pupils are led to believe, that this most important former of the mind, maker of character, and guide to action can be acquired in a certain number of lessons out of a textbook! Because this is so, young men and young women come up to college almost absolutely ignorant of the history of their race and of the ideas that have made our civilization. Some of them have never read a book, except the text-books on the specialties in which they have prepared themselves for examination. We have a saying concerning people whose minds appear to be made up of dry, isolated facts, that they have no atmosphere. Well, literature is the atmosphere. In it we live, and move, and have our being, intellectually. The first lesson read to, or read by, the child should begin to put him in relation with the world and the thought of the world. This cannot be done except by the living teacher. No text-book, no one reading-book or series of reading-books, will do it. If the teacher is only the text-book orally delivered, the teacher is an uninspired machine. We must revise our notions of the function of the teacher for the beginners. The teacher is to present evidence of truth, beauty, art. Where will he or she find it? Why, in experimental science, if you please, in history, but, in short, in good literature, using the word in its broadest sense. The object in selecting reading for children is to make it impossible for them to see any evidence except the best. That is the teacher's business, and how few understand their business! How few are educated! In the best literature we find truth about the world, about human nature; and hence, if children read that, they read what their experience will verify. I am told that publishers are largely at fault for the quality of the reading used in schools—that schools would gladly receive the good literature if they could get it. But I do not know, in this case, how much the demand has to do with the supply. I am certain, however, that educated teachers would use only the best means for forming the minds and enlightening the understanding of their pupils. It must be kept in mind that reading, silent reading done by the scholar, is not learning signs and calling words; it is getting thought. If children are to get thought, they should be served with the best—that which will not only be true, but appeal so naturally to their minds that they will prefer it to all meaner stuff. If it is true that children cannot acquire this taste at home—and it is true for the vast majority of American children—then it must be given in the public schools. To give it is not to interrupt the acquisition of other knowledge; it is literally to open the door to all knowledge.

When this truth is recognized in the common schools, and literature is given its proper place, not only for the development of the mind, but as the most easily-opened door to history, art, science, general intelligence, we shall see the taste of the reading public in the United States undergo a mighty change: It will not care for the fiction it likes at present, and which does little more than enfeeble its powers; and then there can be no doubt that fiction will rise to supply the demand for something better. When the trash does not sell, the trash will not be produced, and those who are only capable of supplying the present demand will perhaps find a more useful occupation. It will be again evident that literature is not a trade, but an art requiring peculiar powers and patient training. When people know how to read, authors will need to know how to write.

In all other pursuits we carefully study the relation of supply to demand. Why not in literature? Formerly, when readers were comparatively few, and were of a class that had leisure and the opportunity of cultivating the taste, books were generally written for this class, and aimed at its real or supposed capacities. If the age was coarse in speech or specially affected in manner, the books followed the lead given by the demand; but, coarse or affected, they had the quality of art demanded by the best existing cultivation. Naturally, when the art of reading is acquired by the great mass of the people, whose taste has not been cultivated, the supply for this increased demand will, more or less, follow the level of its intelligence. After our civil war there was a patriotic desire to commemorate the heroic sacrifices of our soldiers in monuments, and the deeds of our great captains in statues. This noble desire was not usually accompanied by artistic discrimination, and the land is filled with monuments and statues which express the gratitude of the people. The coming age may wish to replace them by images and structures which will express gratitude and patriotism in a higher because more artistic form. In the matter of art the development is distinctly reflex. The exhibition of works of genius will slowly instruct and elevate the popular taste, and in time the cultivated popular taste will reject mediocrity and demand better things. Only a little while ago few people in the United States knew how to draw, and only a few could tell good drawing from bad. To realize the change that has taken place, we have only to recall the illustrations in books, magazines, and comic newspapers of less than a quarter of a century ago. Foreign travel, foreign study, and the importation of works of art (still blindly restricted by the American Congress) were the lessons that began to work a change. Now, in all our large towns, and even in hundreds of villages, there are well-established art schools; in the greater cities, unions and associations, under the guidance of skillful artists, where five or six hundred young men and women are diligently, day and night, learning the rudiments of art. The result is already apparent. Excellent drawing is seen in illustrations for books and magazines, in the satirical and comic publications, even in the advertisements and theatrical posters. At our present rate of progress, the drawings in all our amusing weeklies will soon be as good as those in the 'Fliegende Blatter.' The change is marvelous; and the popular taste has so improved that it would not be profitable to go back to the ill-drawn illustrations of twenty years ago. But as to fiction, even if the writers of it were all trained in it as an art, it is not so easy to lift the public taste to their artistic level. The best supply in this case will only very slowly affect the quality of the demand. When the poor novel sells vastly better than the good novel, the poor will be produced to supply the demand, the general taste will be still further lowered, and the power of discrimination fade out more and more. What is true of the novel is true of all other literature. Taste for it must be cultivated in childhood. The common schools must do for literature what the art schools are doing for art. Not every one can become an artist, not every one can become a writer—though this is contrary to general opinion; but knowledge to distinguish good drawing from bad can be acquired by most people, and there are probably few minds that cannot, by right methods applied early, be led to prefer good literature, and to have an enjoyment in it in proportion to its sincerity, naturalness, verity, and truth to life.

It is, perhaps, too much to say that all the American novel needs for its development is an audience, but it is safe to say that an audience would greatly assist it. Evidence is on all sides of a fresh, new, wonderful artistic development in America in drawing, painting, sculpture, in instrumental music and singing, and in literature. The promise of this is not only in the climate, the free republican opportunity, the mixed races blending the traditions and aptitudes of so many civilizations, but it is in a certain temperament which we already recognize as American. It is an artistic tendency. This was first most noticeable in American women, to whom the art of dress seemed to come by nature, and the art of being agreeable to be easily acquired.