Education: How Old The New

by James J. Walsh

Of course it may be said that, after all, there [{171}] were only opportunities for a few to work at the great architectural monuments of the thirteenth and fourteenth centuries. In a sense this is true, but it must not be forgotten that without modern mechanical means and with the slow, patient laborious effort required to raise these huge edifices, much time and many men were required. Besides the cathedrals and the abbeys there were many private castles and town halls, and then in many places the homes of the gilds themselves, some of which, as, for instance, the famous hall of the clothmakers at Ypres, are among the most beautiful monuments of the architecture of that period. In everything, however, the workmen had a chance to do beautiful work. In the textile industries this is the time when some of the most beautiful cloth ever made was invented and brought to perfection. Linen was woven with wonderful skill, satin was invented and brought to perfection, silk brocades of marvellous designs of many kinds were made, threads of gold and silver were introduced into the textures, wonderfully fine effects were studied out and applied in the industries, and just as in the decorative arts so in the arts of cloth-weaving and of many other forms of human endeavor, there was an artistic craftsmanship such as we have lost sight of to a great extent in our age of machinery.

The Irish poet, Yeats, in bidding a group of American friends good-bye some five years ago, said that we had many opportunities for culture [{172}] in life here in America, but we must be careful to take them fully and not deceive ourselves with counterfeits, or we would surely miss something of the precious privilege and development that might be ours. Among other things he said, that we must not forget "that until the very utensils in the kitchen are useful as well as beautiful no nation can think of itself as really cultured." If men and women can bear without constraint to handle things that are merely useful without beauty in them, there is something seriously lacking in their culture. Whatever is merely useful is hideous. Nature never made anything that was merely useful in all the world's history. The things of nature around us are all wonderful utilities and yet charmingly beautiful. The pretty flowers are seed envelopes meant to attract birds and insects, so that the seeds may be scattered. The beautiful fruits are other seed envelopes meant to attract man and the animals, so that the seeds may be carried far and wide. The leaves of trees are eminently useful as lungs and stomach and yet are beautiful and have a wondrous variety and a charm all their own.

This precious lesson of nature they seem to have understood well in the Middle Ages and applied it with marvellous perfection. It has often been called to attention that portions of Gothic edifices in dark corners, out of the sight of the ordinary visitor, are just as beautifully decorated in their own way as those which are [{173}] especially on exhibition. The gravestones in their churches, though meant to be trodden under foot and often covered by the dirt from the shoes of passersby, yet had bronze ornaments that are so beautiful that in the modern time artists take rubbings of them so as to carry the designs away with them. While every portion of the church is beautiful, the same thing was true in the castles and to a great extent in their own homes. The furniture of that time, even in the houses of smaller tradesmen, was beautiful in its simplicity, its solidity, its charm of line, and then, above all, its absolute rejection of all pretence of seeming to be anything other than it was. Their drinking cups were beautiful, their domestic utensils of various kinds had charming lines and, though they did not have as many as we have in the modern time, what they had were so beautiful that now we find them on exhibition in museums, and we are beginning to imitate them in order that the wealthy may have as bric-à-brac ornaments in their houses, the utensils which were in ordinary use in the homes of the middle classes of the thirteenth century.

There was a satisfaction for the workman in making all these beauteous things. He knew, as a rule, for whom they were to be made. He knew where they were to be placed. He often saw his handiwork afterwards. His reputation depended on it. There was a happiness then in doing it well, and in taking his time to it, that surpasses [{174}] any idle pleasure away from his work, as happiness always surpasses pleasure. There was the joy of the doing, and joys we are coming to appreciate mean ever so much more than pleasures. What we want at the present time are more joys and less pleasures. How many men and women were blessed in that time because they had found their work. That is the only real happiness in life. How profusely it was scattered over the mediaeval world.

Almost nothing that was made was of a character that could be done by mere routine. A man had to occupy both mind and body in the making of the textiles, of the kitchen utensils, of the furniture, of the various metal utensils required for houses, and so for nearly everything else. It is the workman who has mere routine work that has opportunity to think about other things and brood over his lot and grow more and more dissatisfied. It is the man who does not have to give his mind to what he is doing, but who while his body grows more and more tired accomplishing a limited set of constantly repeated movements, may allow his mind to ponder gloomily over his condition, compare it with that of others and grow envious, who has the worst possible seeds of discontent in his occupation.

Men who did this sort of work that required active mental attention, learned to think for themselves. When they had moments of leisure, not having newspapers and superficial shallow books [{175}] to waste their time on, they did some thinking. Any one who has had a little intimate contact with the old-fashioned artisans, the shoemakers, the harnessmakers, the cabinetmakers who work at benches, the woodcarvers, men who have real trades, knows how often one finds among them a deep, serious thinker with regard to the problems of life around. They do not drink in other people's opinions and then think that they are thinking, because they are able to repeat some formulas of words. Such men are not easily led. They make good jurymen, they have logic; above all, they are thoughtful. There must have been much of this in the old time among the handicraftsmen of the Middle Ages. It is doubtless to this that we owe the fact that these men were gradually organized in many wonderful ways into the basic democracy on which the liberties of the English-speaking people of the world are founded. We shall have much more to say of this in treating of the wonderful fraternal organizations, with solutions for nearly every problem of social need, which these men succeeded in working out for themselves in times considered to have been benighted.

There was another phase of the education of these members of the gilds that is even more interesting because it trenches particularly on the intellectual side of life, the provision of entertainment and solves an important social problem. This was the organization of dramatic [{176}] performances for the people in which the members of the gilds took part. The stories of the Old Testament and of the New, and of the lives of the Saints, and of various incidents connected with Church history, were worked up into plays and were presented in the various cities. We have the remains of many cycles of these plays. They represent the beginnings of our modern dramatic literature. They were simple and very naive, but they were interesting and they concerned some of the deepest and most beautiful thoughts with which man has ever been concerned. The members of the gilds and their families took part in them. The principal sets of plays were given in the springtime at the various festivals of the Church, so frequent then. Most of the spare time from Christmas on, especially the long hours of the winter evenings, were occupied in preparations of various kinds for these spring dramatic performances. It is impossible to conceive of anything more likely to give people innocent and joyful yet absorbing occupations of mind than these preparations.

Some of the young men and women were chosen as the actors and had to learn their parts and be rehearsing them. Choruses had to be trained, costumes had to be made, some scenery had to be arranged, everything was done by the members of the particular gild for each special portion of the cycle of the play assigned to them. Garments had actually to be manufactured out of the wool, [{177}] the dyeing of them had to be managed, spangles had to be made for them, there must have been busy occupation of the most interesting kind for many hands. Of course it is easy to say that these naive productions could not have meant very much for the people. Any one who thinks so, however, has had no experience with private theatricals, and above all has never had the opportunity to see how much they mean for the occupation of young folks' minds and the keeping of them out of mischief during the winter months when they are much indoors. When the Jesuits founded their great schools in Europe they laid it down as one of the rules of the institute to be observed in all their schools, that plays in certain number should be given every year, partly for the sake of the educational effect of such occupation with dramatic literature, but mainly because of the interest aroused by them and the occupation of mind for young folks which they involve.

As to how much they may mean, perhaps the best way for those of our day to realize it is to take the example of Oberammergau with its great Passion Play still given. Here we have a typical instance of a Passion play of the olden time maintaining itself. The preparations for it occupy the villagers in their mountain home not for months only, but for years before it is given. It represents the centre of the village life, is the main portion of its activities. The place of a [{178}] family with regard to the play constitutes its position in the village aristocracy. Something of this must have been true in the gilds of the Middle Ages in these dramatic performances. Just as at Oberammergau nearly every one of the villagers has something to do or is in some way connected with the preparation of the play, so most of the members of the particular gilds and probably their families had some connection with their plays. The children had their interest and curiosity aroused and were allowed to help in their measure, and then when the glorious day of the performance came, there must have been joy in the hearts of all and rejoicing over its success. This is the sort of occupation of mind that we would like to be able to provide for our people in the cities and towns, but circumstances are such that we cannot.

Those who would think that these old Passion and mystery plays meant very little for the people who did not take part in them and, above all, very little for the spectators, in an educational way, forget entirely that this side of the work of the old plays can also be studied at Oberammergau. This little town of 1,400 inhabitants occupies itself for years to such good effect that, when the performances are given crowds flock from all over the world to witness them. When I was there in 1900 I think that I saw the most cosmopolitan gathering that I had ever been in, though I have been to several International [{179}] Medical Congresses. There were Russians and Poles, and Scandinavians and Americans and Australians, and there stayed in the house with us a little party from Buenos Ayres, and our seat companions in the train were English, who had been born in India, and they pointed out to us some South Africans who had come to see the Passion Play. This village of 1,400 inhabitants succeeds in producing actors who are capable of arousing thus the interest of the world, and they have artistic taste enough to mount it well, and they manage their performances in thoroughly dignified fashion, and yet in many ways they have the simplicity and, above all, the dear old simple faith of the mediaeval people from whom they come. This is the best possible evidence that we could have of the place of the old plays in the life of the people.