As in the Montessori school, so in these mystic “cloisters” the learners are led to concentrate and focus on a single task a number of faculties and senses: eye, ear, voice, memory, attitude, gesture and movement all conspire to enforce the lesson. And this variety of expression work is rendered effective by an abundant supply of didactic material, an apparatus as carefully and scientifically thought out as that of Italy’s latest educational leader. One need only instance the famous wall-sculptures[211] and the inlaid pavement[212] of the Terrace of Pride, the description of which forms one of the loveliest passages in this most beautiful poem.
We have spoken of the Angels who preside over these terraces, engaged in the apparently superfluous task of controlling those whose will is bent manfully upon the task before them, lifted as they are for ever above the zone where temptation has any power.[213] What a task, we are inclined to say, for angelic faculties! What a sinecure! Yet the resemblance to the human “Guardian Angel” of the Montessori school is surely too striking to be without significance: and modern educational principles of which the Dottoressa is by no means the exclusive exponent, may help us to realise how—in this as in so many other things—we shall do well to range ourselves “on the side of the Angels.” The Montessori teacher—may we not say the truly modern teacher of whatever type?—submits to an arduous and exacting course of training—far more arduous and exacting than that which “qualified” previous generations of teachers ... and all for—what? To know what not to do, what not to say; to be able to practise at the right moment a fully qualified self-restraint, and so allow free scope to the inner forces of expansion in the pupil’s personality: an expansion which too heavy a hand, however lovingly laid upon the growing life, might crush or stunt or warp! A constant presence, inspiring but unobtrusive; realised but not dominant or over-insistent; not obviating or unduly curtailing those movements and processes which in education are infinitely more valuable than immediate results ... yet ever at hand when really needed.... Is not this a rôle worthy of angelic power and dignity? Is it not precisely the traditional rôle of the Guardian Angel in whose beneficent existence some of us are still childlike enough to believe?
Surely they were not mere figureheads, those “Birds of God,” whose stately grace and beauty Dante delights to portray? Even so is it with the “Guardian Angels” of the Montessori school—with the restrained efficiency and enthusiasm and the carefully calculated use of personal influence of the best teachers of all types and grades: their dignity and essentially angelic quality is apt to be in proportion to their unobtrusiveness. Education is, after all, not “forcible feeding” or “cramming”; its office is to educe—to draw forth. In Socrates’ homely phrase it is a midwife. “Sairey Gamp” was certainly not an angel; but there are those of her craft who are. More and more this maieutic office of the Teacher is realised, and with its realisation Teachers grow less and less like the castigating demons of Inferno—more and more angelic.
Omai vedrai di sì fatti ufficiali.[214]
Another point which brings the Purgatorio, in its educational scheme, down to our own days, is the orderly progression of its lessons. The tasks set for the penitents are carefully classified and, so to speak, “graded.” The very form of the Mountain, with its system of gigantic steps or terraces, signifies as much. It symbolises even more: for education even in the infant stage involves the conquest of external difficulties, and, still more, the arduous conquest of self. The prominence of this “joy of overcoming” is one of the happiest psychological phenomena of a Montessori school. And as relations with our fellows become more complex and responsibilities multiply, this “battle of life” is ever more consciously felt. The New Teaching aims at “breaking the back” of a soul’s troubles in the early stage, by inducing a habit of mind to which the appearance of difficulties, instead of depressing, at once suggests victorious effort. In this way the battle of the free will becomes, in a sense, most strenuous at the start, as Marco Lombardo says, “And freewill, which, tho’ it hath a hard struggle in its first encounter with the heavenly influences, in the end wins the day completely, if it be well supported.”
E libero voler; che, se fatica
Ne le prime battaglie col ciel dura
Poi vince tutto, se ben si notrica.[215]
And the same thought of a gradation, a succession of efforts, each of which, bravely faced, makes those that follow lighter, is symbolised in the shape of the mountain of Purgatory, which in reality would have rather the form of a rounded dome than that of the tall pyramid of the customary illustration. Says Virgil, in his comforting way, to Dante, breathless after his first steep climb: “The nature of this eminence is such, that ever at starting from below it is fatiguing, but in proportion as a man mounts, he feels it less; wherefore, when it shall appear to thee so gentle that the ascent is as easy as sailing downward with the stream, then shalt thou be at the end of this path; there mayest thou hope to rest thy weariness.”