CHAPTER XIII
THE ARTIST TEACHER
Teaching as a fine art.—Teaching is an art. This fact has universal recognition. But it may be made a fine art, a fact that is not so generally recognized. The difference between the traditional school and the vitalized school lies in the fact, to a large degree, that, in the former, teaching is regarded merely as an art, while in the latter it becomes a fine art. In the former, the teacher is an artisan; in the latter the teacher is an artist. The difference is broadly significant. The artisan, in his work, follows directions, plans, specifications, and blue-prints that have been devised and designed by others; the artist imbues his work with imagination. The artisan works by the day—so much money for so many hours’ work with pay day as his large objective; the artist does not disdain pay day, but he has an objective beyond this and has other sources of pleasure besides the pay envelope. The artisan thinks and talks of pay day; the artist thinks and talks of his work. The artisan drops his work when the bell rings; the artist is so engrossed in his work that he does not hear the bell. The artisan plods at his task with a grudging mien; the artist works in a fine frenzy.
Characteristic qualities.—It is not easy to find the exact words by which to differentiate the traditional teacher from the artist teacher. There is an elusive quality in the artist teacher which is not easily reduced to or described by formal words. We know that the one is an artist teacher and that the other is not. The formal examination may not be able to discover the artist teacher, but there is a sort of knowledge that transcends the findings of an examination, that makes her identity known. She is a real flesh and blood person and yet she has a distinctive quality that cannot be mistaken even though it eludes description. She exhales a certain exquisiteness that reveals itself in the delicacy and daintiness of her contact with people and the objective world. Her impact upon the consciousness is no more violent than the fragrance of the rose, but, all at once, she is there and there to stay, modest, serene, and masterful.
She is as gentle as the dawn but as staunch as the oak. She has knowledge and wisdom, and, better still, she has understanding; she needs no diagram. Her gaze penetrates the very heart of a situation but is never less than kindly, and her eyes are never shifty. Her aplomb, her pose, and her poise belong to her quite as evidently as her hands. She is genuine and altogether free from affectation. Her presence stimulates without intoxicating, and she accepts the respect of people with the same naturalness and grace as would accompany her acceptance of a glass of water. Both the giver and the recipient of this respect are ennobled by the giving. Indeed she would far rather have the respect of people, her pupils included, than mere admiration, for she knows full well that respect is far more deeply rooted in the spirit and bears fruit that is more worth while. Her nature knows not inertia, but it abounds in enterprise, endeavor, and courage that are born of a high purpose.
Joy in her work.—Her teaching and her life do not occupy separate compartments but are identical in time and space; only her teaching is but one phase or manifestation of her life. She fitly exemplifies the statement that “Art is the expression of man’s joy in his work.” She has great joy in her work and, therefore, it is done as any other artist does his work. She enjoys all life, including her work. Indeed, she has contracted the habit of happiness and is so engrossed in the big elemental things of life that she can laugh at the incidental pin-pricks that others call troubles. She differentiates major from minor and never permits a minor to usurp the throne. Being an integral part of her life, her work takes on all the hues of her life. For her, culture is not something added; rather it is a something that permeates her whole nature and her whole life. She does not read poetry and other forms of literature, study the great masterpieces of music and art, and seek communion with the great, either in person or through their works—she does not do these things that she may acquire culture, but does them because she has culture.
Dynamic qualities.—Her character is the sum of all her habits of thinking, feeling, and action and, therefore, is herself. Since she is an artist, her habits are all pitched in a high key and she is culture personified. Her immaculateness of body and spirit is not a superficial acquisition but a fundamental expression of her real self. Just as the electric bulb diffuses light, so she diffuses an atmosphere of culture. She gives the artistic touch to every detail of her work because she is an artist, a genuine, sincere artist in all that makes up life. She has the heart of an artist, the eyes of an artist, the touch of an artist. Whether these qualities are inherent or acquired is beside the point, at present, but it may be remarked, in passing, that unless they were capable of cultivation, the world would be at a standstill. There is no place in her exuberant vitality for a jaundiced view, and hence her world does not become “stale, flat, and unprofitable.”
Aspiration and worship.—Every sincere, noble aspiration is a prayer; hence, she prays without ceasing in obedience to the admonition of the Apostle. And, let it be said in reverence, she helps to answer her own prayers. Her spirit yearns out toward higher and wider attainments every hour of the day, not morbidly but exultantly. And while she aspires she worships. The starry sky holds her in rapt attention and admiration, and the modest flower does no less. She is thankful for the rain, and revels in the beauty and abundance of the snow. The heat may enervate, but she is grateful, none the less, because of its beneficent influence upon the farmer’s work. Like food and sleep, her attitude of worship conserves her powers and preserves her balance. When physical weariness comes, she sends her spirit out to the star, or the sea, or the mountain, and so forgets her burden in the contemplation of majesty and beauty. In short, her spirit is attuned to all beauty and sublimity and truth, and so she is inherently an artist.
Professor Phelps quoted.—In his very delightful book, “Teaching in School and College,” the author, Professor William Lyon Phelps, says: “I do not know that I could make entirely clear to an outsider the pleasure I have in teaching. I had rather earn my living by teaching than in any other way. In my mind, teaching is not merely a life work, a profession, an occupation, a struggle; it is a passion. I love to teach. I love to teach as a painter loves to paint, as a musician loves to play, as a singer loves to sing, as a strong man rejoices to run a race. Teaching is an art—an art so great and so difficult to master that a man or a woman can spend a long life at it, without realizing much more than his limitations and mistakes, and his distance from the ideal. But the main aim of my happy days has been to become a good teacher, just as every architect wishes to be a good architect, and every professional poet strives toward perfection. For the chief difference between the ambition of the artist and the ambition of a money-maker—both natural and honorable ambitions—is that the money-maker is after the practical reward of his toil, while the artist wants the inner satisfaction that accompanies mastery.”