As the inquisitive instinct makes the child an intolerable nuisance to his ignorant and indolent elders, it is but natural that in the unenlightened school, as in the unenlightened home, it should be forcibly exterminated. It is through the agency of the formula "Don't speak till you are spoken to," that its destruction is usually effected. But under Egeria's ægis conversation in school hours is, as we have seen, freely encouraged, and the child's right to ask questions fully recognised; and one may therefore conjecture that this proscribed and outlawed instinct will find a safe asylum in her school. Whatever lesson may be in progress, the Utopian children are allowed, and even expected, to seek for illumination whenever they find themselves in the dark, to pause inquiringly at every obstacle to their understanding what they have seen or heard or read.
The encouragement which is given in Utopia to the child who seeks to gratify his desire for knowledge, is positive as well as negative. When the obstacles which education usually places in his path have been removed, it is found that the whole atmosphere of the school is favourable to the growth of his inquisitive instinct. At every turn he is called upon to plan and contrive, and is thus made to realise his own limitations, and to try to escape from them. Whatever he may have in hand,—be it the preparation for acting a new scene, or the interpretation of a new Folk Song or Morris Dance, or the invention of a new school game, or the thinking out some new way of treating a "subject,"—he is sure to find that knowledge is needed if he is to achieve success; and his desire for knowledge is therefore continually stimulated by the demands that his own initiative and activity are ever making upon him.
But it is in the "Nature lesson" that the inquisitive instinct finds in Utopia its freest scope and its fullest opportunity. To one who had persuaded himself of the innate stupidity of the average English child, a Nature lesson in Utopia would come as a revelation. He would learn for the first time that, far from being innately stupid, the average English child has it in him to reach a very high level of keenness, acuteness, and intellectual activity. Whenever a lesson is given on a natural object, e.g. a flower or a leaf, every child has a specimen and a lens. The object is then closely and carefully observed, in the hope of discovering features in it which might escape the unobservant. Whenever such features are discovered the children try to account for them. In these attempts they display much ingenuity and intelligence, and are led on by Egeria in the direction of the true explanation of each phenomenon, and the relation of this to what they know of the object as a whole, and of its meaning and function. The eagerness of the children to volunteer explanations of the facts that they observe is only equalled by the intelligence with which they grasp the general bearing of the problems that confront them, and the resourcefulness and quickness of wit with which they make repeated attempts to solve them.
And these are not the only qualities to which the Nature lesson gives free play. It is interesting to note that as on the one hand the inquisitive instinct is obviously near of kin to the communicative, so on the other hand it is ever tending to link itself to the artistic. The closeness of observation which is the basis of success in Nature-study, and by means of which the inquisitive instinct is fed and strengthened, is also the basis of success in drawing; and in each case it leads beyond itself into a region in which it has to be supplemented by, and even transfigured into, imagination, the faculty by means of which we observe what is at once impalpable and real.[19] And in that region the distinction between truth and beauty is ever tending to efface itself. The master sculptor is always an accomplished anatomist; and the genuine naturalist is a lover and admirer, as well as a student, of Nature. It has been well said that "to see things in their beauty is to see them in their truth"; and it is perhaps equally, though more remotely, true that to see things in their truth is to see them in their beauty. That being so, we need not wonder that among the Utopian children the love of what is beautiful in Nature has grown continuously with the growth of their interest in Nature-study, and that the inquisitive instinct is ever Reinforcing and being reinforced by the artistic.
(6) The Constructive Instinct.
Active, intelligent, resourceful, self-helpful, the Utopian child takes to handwork of various kinds as readily and almost as spontaneously as the birds in spring-time take to the work of nest-building. It must indeed be admitted that the systematic instruction in Gardening, Cookery, and Woodwork which warrants the payment of special grants for these "subjects" is not given. But informal gardening, informal cookery, and informal woodwork are vital features of the school life. Nor are the children's essays in handwork limited to these subjects. Whatever implement, instrument, or other contrivance may be needed in order to illustrate or otherwise help forward the general work of the school will be made by the children, so far as their technical ability and the resources of the school permit. For example, they will make fences, seats, frames, and sheds for their gardens, and "properties" and dresses for their dramatic performances. They will illustrate their games and lessons by means of simple modelling and paper-cutting. The older girls will dress dolls for the little ones to their own fancy, using their own discretion as regards material, style of dress, and method of dress-making. And so on.
But ready as the Utopian children are to use their hands, and clever as they are at using them, it is not through manual activity only that the development of their constructive instinct is carried on. One of the characteristic features of the school is the largeness of the scale on which the constructive powers of the children are encouraged to energise, and the frequency and variety of the demands that are made upon them. The Utopian child is expected to educate himself, not merely in the sense of doing by and for himself whatever task may be set him, but also in the sense of devising new tasks for himself, in thinking out new ways of treating the different subjects that appear on the school time-table, in taking thought for the whole scheme of his education. As the years go by, Egeria makes more and greater demands on the initiative and the intelligence of the children, her aim being apparently to transform the school by slow degrees into a self-governing community which, under her presidency, shall order its own life and work out its own salvation. This means, as I have lately pointed out, that at every turn the Utopian child is being called upon to plan and contrive; and this, again, means that his constructive instinct, with his inquisitive instinct as its other self, is being continually exercised on the widest possible field and under the most stimulating of all influences. The result of this is that reciprocal action is ever going on in his mind between the faculties that acquire knowledge and the faculties that apply it,—action which makes for the rapid and healthy growth of both sets of faculties, and which is therefore ever tending to strengthen the child's capacity for thinking and to raise the plane of its activity.
What is the culture of the child's expansive instincts likely to do for him?
I will weave into my answer to this question my knowledge of what has been done and is being done in Utopia.
It is through the medium of his own exertions that the evolution of the child's instincts is carried on by Egeria. It may be possible to lay veneers of information on the surface of a child's mind, but it is not possible to lay on veneers of growth; and growth, not information, is the end at which Egeria has always aimed. If a child is to grow, he must exercise his own limbs, his own organs, his own faculties. No one else can do this for him; and unless he does it himself, it will never be done. The school life in Utopia is therefore one of constant activity. The habit of doing things, of doing things for himself, of doing things by himself, is gradually built up in each child. There is no forced inertness in Utopia, no slackness, no boredom, no yawning. And the activity which is characteristic of the school is always the child's own activity. The child himself is behind everything that he does. The child himself is expressing himself in his every action. Mechanical activity, the doing of things, not merely at the bidding of another, but also under his minutely detailed direction, is as foreign to the genius of the school as is the passivity of the helpless victims of the unenlightened teacher's "chalk and talk."