§ 89. In order that looking at pictures shall not degenerate into mere diversion, explanations should accompany them. Only when the thought embodied in the illustration is pointed out, can they be useful as a means of instruction. Simply looking at them is of as little value towards this end as is water for baptism without the Holy Spirit. Our age inclines at present to the superstition that man is able, by means of simple intuition, to attain a knowledge of the essence of things, and thereby dispense with the trouble of thinking. Illustrations are the order of the day, and, in the place of enjoyable descriptions, we find miserable pictures. It is in vain to try to get behind things, or to comprehend them, except by thinking.
§ 90. The ear as well as the eye must be cultivated. Music must be considered the first educational means to this end, but it should be music inspired by ethical purity. Hearing is the most internal of all the senses, and should on this account be treated with the greatest delicacy. Especially should the child be taught that he is not to look upon speech as merely a vehicle for communication and for gaining information; it should also give pleasure, and therefore he should be taught to speak distinctly and with a good style, and this he can do only when he carefully considers what he is going to say.
—Among the Greeks, extraordinary care was given to musical cultivation, especially in its ethical relation. Sufficient proof of this is found in the admirable detailed statements on this point in the "Republic" of Plato and in the last book of the "Politics" of Aristotle. Among modern nations, also, music holds a high place, and makes its appearance as a constant element of education. Piano-playing has become general, and singing is also taught. But the ethical significance of music is too little considered. Instruction in music often aims only to train pupils for display in society, and the tendency of the melodies which are played is restricted more and more to orchestral pieces of an exciting or bacchanalian character. The railroad-gallop-style only makes the nerves of youth vibrate with stimulating excitement. Oral speech, the highest form of the personal manifestation of mind, was also treated with great reverence by the ancients. Among us, communication is so generally carried on by writing and reading, that the art of speaking distinctly, correctly, and agreeably, has become very much neglected. Practice in declamation accomplishes, as a general thing, very little in this direction. But we may expect that the increase of public speaking occasioned by our political and religious assemblies may have a favorable influence in this particular.—
II. The Imaginative Epoch.
§ 91. The activity of Perception results in the formation of an internal picture or image of its ideas which intelligence can call up at any time without the sensuous, immediate presence of its object, and thus, through abstraction and generalization, arises the conception. The mental image may (1) be compared with the perception from which it sprang, or (2) it may be arbitrarily altered and combined with other images, or (3) it may be held fast in the form of abstract signs or symbols which intelligence invents for it. Thus originate the functions (1) of the verification of conceptions, (2) of the creative imagination, and (3) of memory; but for their full development we must refer to Psychology.
§ 92. (1) The mental image which we form of an object may be correct; again, it may be partly or wholly defective, if we have neglected some of the predicates of the perception which presented themselves, or in so far as we have added to it other predicates which only seemingly belonged to it, and which were attached to it only by its accidental empirical connection with other existences. Education must, therefore, foster the habit of comparing our conceptions with the perceptions from which they arose; and these perceptions, since they are liable to change by reason of their empirical connection with other objects, must be frequently compared with our conceptions previously formed by abstractions from them.
§ 93. (2) We are thus limited in our conceptions by our perceptions, but we exercise a free control over our conceptions. We can create out of them, as simple elements, the manifold mental shapes which we do not treat as given to us, but as essentially our own work. In Pedagogics, we must not only look upon this freedom as if it were only to afford gratification, but as the reaction of the absolute ideal native mind against the dependence in which the empirical reception of impressions from without, and their reproduction in conceptions, place it. In this process, it does not only fashion in itself the phenomenal world, but it rather fashions out of itself a world which is all its own.
§ 94. The study of Art comes here to the aid of Pedagogics, especially with Poetry, the highest and at the same time the most easily communicated. The imagination of the pupil can be led by means of the classical works of creative imagination to the formation of a good taste both as regards ethical value and beauty of form. The proper classical works for youth are those which nations have produced in the earliest stages of their culture. These works bring children face to face with the picture which mind has sketched for itself in one of the necessary stages of its development. This is the real reason why our children never weary of reading Homer and the stories of the Old Testament. Polytheism and the heroism which belongs to it are just as substantial an element of childish conception as monotheism with its prophets and patriarchs. We stand beyond both, because we are mediated by both, and embrace both in our stand-point.
—The purest stories of literature designed for the amusement of children from their seventh to their fourteenth year, consist always of those which were honored by nations and the world at large. One has only to notice in how many thousand forms the stories of Ulysses are reproduced by the writers of children's tales. Becker's "Tales of Ancient Times," Gustav Schwab's most admirable "Sagas of Antiquity," Karl Grimm's "Tales of Olden Times," &c., what were they without the well-talking, wily favorite of Pallas, and the divine swine-herd? And just as indestructible are the stories of the Old Testament up to the separation of Judah and Israel. These patriarchs with their wives and children, these judges and prophets, these kings and priests, are by no means ideals of virtue in the notion of our modern lifeless morality, which would smooth out of its pattern-stories for the "dear children" everything that is hard and uncouth. For the very reason that the shadow-side is not wanting here, and that we find envy, vanity, evil desire, ingratitude, craftiness, and deceit, among these fathers of the race and leaders of "God's chosen people," have these stories so great an educational value. Adam, Cain, Abraham, Joseph, Samson, and David, have justly become as truly world-historical types as Achilles and Patroclus, Agamemnon and Iphigenia, Hector and Andromache, Ulysses and Penelope.—
§ 95. There may be produced also, out of the simplest and most primitive phases of different epochs of culture of one and the same people, stories which answer to the imagination of children, and represent to them the characteristic features of the past of their people.