Attitude toward work.—To these sentiments the artist teacher subscribes whole-heartedly, if not in words, certainly by her attitude and practices. She regards her work not as a task but as a privilege, and thinking it a privilege she appreciates it as she would any other privilege. She would esteem it a privilege to attend a concert by high-class artists, or to visit an art gallery, or to witness a presentation of a great drama, or to see the Jungfrau; and she feels the same exaltation as she anticipates her work as a teacher. She sings on her way to school because of the privileges that await her. She experiences a fine flow of sentiment without becoming sentimental. Teaching, to her, is a serious business, but not, in the least, somber. Painting is a serious business, but the artist’s zeal and joy in his work give wings to the hours. Laying the Atlantic cable was a serious business, but the vision of success was both inspiring and inspiriting, and temporary mishaps only served to stimulate to greater effort.
The element of enthusiasm.—To this teacher, each class exercise is an enterprise that is big with possibilities; and, in preparation for the event, she feels something of the thrill that must have animated Columbus as he faced the sea. She estimates results more by the faces of her pupils than by the marks in a grade book, for the field of her endeavors is the spirit of the child, and the face of the child telegraphs to her the awakening of the spirit. Like the sculptor, she is striving to bring the angel of her dream into the face of the child; and when this hope is realized, the privilege of being a teacher seems the very acme of human aspirations. The animated face and the flashing eye betoken the sort of life that her teaching aims to stimulate; and when she sees these unmistakable manifestations, she knows that her big enterprise is a success and rejoices accordingly. If, for any reason, her enthusiasm is running low, she takes herself in hand and soon generates the enthusiasm that she knows is indispensable to the success of her enterprise.
Redemption of common from commonplace.—She has the supreme gift of being able to redeem the common from the plane of the commonplace. Indeed, she never permits any fact of the books to become commonplace to her pupils. They all know that Columbus discovered America in 1492, but when the recitation touches this fact she invests it with life and meaning and so makes it glow as a factor in the class exercise. The humdrum traditional teacher asks the question; and when the pupil drones forth the answer, “Columbus discovered America in 1492,” she dismisses the whole matter with the phonographic response, “Very good.” What a farce! What a travesty upon the work of the teacher! Instead of being very good, it is bad, yea, inexpressibly bad. The artist teacher does it far better. By the magic of her touch she causes the imagination of her pupils to be fired and their interest to thrill with the mighty significance of the great event. They feel, vicariously, the poverty of Columbus in his appeals for aid and wish they might have been there to assist. They find themselves standing beside the intrepid mariner, watching the angry waves striving to beat him back. They watch him peering into space, day after day, and feel a thousand pities for him in his suspense. And when he steps out upon the new land, they want to shout out their salvos and proclaim him a victor.
The voyage of Columbus.—They have yearned, and striven, and prayed with Columbus, and so have lived all the events of his great achievements. Hence, it can never be commonplace in their thinking. The teacher lifted it far away from that plane and made it loom high and large in their consciousness. A dramatic critic avers that the action of the play occurs, not upon the stage, but in the imagination of the auditors; that the players merely cause the imagination to produce the action; and that if nothing were occurring in the imagination of the people in the seats beyond what is occurring on the stage, the audience would leave the theater by way of protest. The artist teacher acts upon this very principle in every class exercise. Neither the teacher nor the book can possibly depict even a moiety of all that she hopes to produce in the imagination of the pupils. She is ever striving to find the one word or sentence that will evoke a whole train of events in their minds. Just here is where her superb art is shown. A whole volume could not portray all that the imagination of the pupils saw in connection with the voyage of Columbus, and yet the teacher caused all these things to happen by the use of comparatively few words. This is high art; this proclaims the artist teacher.
Resourcefulness.—In her work there is a fineness and a delicacy of touch that baffles a satisfactory analysis. She has the power to call forth Columbus from the past to reënact his great discovery in the imagination of her pupils—all without noise, or bombast, or gesticulation. She does what she does because she is what she is; and she needs neither copyright nor patent for protection. Her work is suffused with a rare sort of enthusiasm that carries conviction by reason of its genuineness. This enthusiasm gives to her work a tone and a flavor that can neither be disguised nor counterfeited. Her work is distinctive, but not sensational or pyrotechnic. Least of all is it ever hackneyed. So resourceful is she in devising new plans and new ways of saying and doing things that her pupils are always animated by a wholesome expectancy. She is the dynamo, but the light and heat that she generates manifest themselves in the minds of her pupils, while she remains serene and quiet.
The thirteen colonies.—With the poet Keats she can sing:
Beauty is truth, truth beauty, that is all
Ye know on earth, and all ye need to know.
Animated by this sentiment, she disdains no form of truth, whether large or small, for in every form of truth she finds beauty; and her spirit reacts to it on the instant, and joy is the resultant. This is the basis for her superb enthusiasm in every detail of her work as well as the source of her joyous living. Her pupils may name the thirteen original colonies without a slip, but that is not enough for her. The establishing of these colonies formed a mighty epoch in history, and she must dwell upon the events until they throb through the life currents of her pupils. Names in books must mean people with all their hopes, their aspirations, their trials and hardships, their sorrows and their joys. The conditions of life, the food, the clothing, the houses, the modes of travel, and the dangers must all come into the mental picture. Hence it is that she prepares for the lesson on the colonies as she would make ready for a trip with the pupils around the world, and the mere giving of names is negligible in her inspiring enterprise.
Every subject invested with life.—She finds in the circulation of the blood a subject of great import and makes ready for the lesson with enthusiastic anticipation. Her step is elastic as she takes her way to school on this particular day, and her face is beaming, for to-day comes to the children this stupendous revelation. She feels as did the college professor when he was just ready to begin an experiment in his laboratory and said to his students, “Gentlemen, please remove your hats; I am about to ask God a question.” She approaches every truth reverently, albeit joyously, for she feels that she is the leader of the children over into the Promised Land. In the book already quoted, Professor Phelps says, “I read in a German play that the mathematician is like a man who lives in a glass room at the top of a mountain covered with eternal snow—he sees eternity and infinity all about him, but not much humanity.” Not so in her teaching of mathematics; for every subject and every problem transports her to the Isle of Patmos, and the hour is crowded with revelations.