Dickens As an Educator

by James L. Hughes

How life in any stage might be filled with richness and joy, if imaginations were stored with apperceptive elements and allowed to reconstruct the universe in our fancies! How truly real our fancies might become!

In A Child’s Dream of a Star Dickens gives an exquisite picture of the influence of imagination in spiritual evolution.

There was once a child, and he strolled about a good deal, and thought of a number of things. He had a sister, who was a child too, and his constant companion. These two used to wonder all day long. They wondered at the beauty of the flowers; they wondered at the height and blueness of the sky; they wondered at the depth of the bright water; they wondered at the goodness and the power of God who made the lovely world.

They used to say to one another, sometimes, Supposing all the children upon earth were to die, would the flowers, and the water, and the sky be sorry? They believed they would be sorry. For, said they, the buds are the children of the flowers, and the little playful streams that gambol down the hillsides are the children of the water; and the smallest bright specks playing at hide and seek in the sky all night, must surely be the children of the stars; and they would all be grieved to see their playmates, the children of men, no more.

There was one clear shining star that used to come out in the sky before the rest, near the church spire, above the graves. It was larger and more beautiful, they thought, than all the others, and every night they watched for it, standing hand in hand at a window. Whoever saw it first cried out, “I see the star!” And often they cried out both together, knowing so well when it would rise, and where. So they grew to be such friends with it, that, before lying down in their beds, they always looked out once again to bid it good night; and when they were turning round to sleep they used to say, “God bless the star!”

But while she was still very young, oh very, very young, the sister drooped, and came to be so very weak that she could no longer stand in the window at night; and then the child looked sadly out by himself, and when he saw the star, turned round and said to the patient pale face on the bed, “I see the star!” and then a smile would come upon the face, and a little weak voice used to say, “God bless my brother and the star!”

Dickens had shown his recognition of the inestimable value of the imagination, and the importance of giving it free play and of doing everything possible to stimulate its activity by freedom, and story, and play, and literature, music, and art, but his description of Jemmy Jackman Lirriper’s training shows a keener appreciation than any of his other writings of the value of the child’s games in which personation is the leading characteristic; in which spools, or spoons, or blocks, or sticks are people or animals, with regular names and distinct characteristics and responsible duties, and in which chairs and tables and boxes are coaches, or steamboats, or railway trains. No friends are ever more real than those of the child’s creative imagination, with things to represent them; no rides ever give greater delight than those rides in trains that move only in the imaginations of the children, who construct them by placing the chairs in a row, and who act as engineers, conductors, and brakemen. Such games form the best elements out of which the child’s life power can be made, especially if the adulthood of his home sympathizes with him in his enterprises. They afford an outlet for his imaginative plans. In them he forms new worlds of his own, which are adapted to his stage of development, and in which he can be the creator and the centre of executive influence.

Jemmy Jackman Lirriper’s training was ideal in most of his home life, though he had no father or mother to love and guide him.

The miles and miles that me and the Major have travelled with Jemmy in the dusk between the lights are not to be calculated, Jemmy driving on the coach box, which is the Major’s brass-bound writing desk on the table, me inside in the easy-chair, and the Major Guard up behind with a brown-paper horn doing it really wonderful. I do assure you, my dear, that sometimes when I have taken a few winks in my place inside the coach and have come half awake by the flashing light of the fire and have heard that precious pet driving and the Major blowing up behind to have the change of horses ready when we got to the Inn, I have believed we were on the old North Road that my poor Lirriper knew so well. Then to see that child and the Major both wrapped up getting down to warm their feet and going stamping about and having glasses of ale out of the paper match boxes on the chimney piece, is to see the Major enjoying it fully as much as the child I am very sure, and it’s equal to any play when Coachee opens the coach door to look in at me inside and say “Wery ‘past that ’tage.—’Prightened old lady?”

Such plays as Dickens here describes make one of the greatest differences between a real childhood and a barren childhood. The lack of opportunities for such perfect plays and such complete sympathy in their plays gives to the faces of orphan children brought up in institutions the distinctive look which marks them everywhere, so that they can be easily recognised by experienced students of happy childhood.