Knowledge of author's life and art and of ideals of the times necessary for comprehension and appreciation
Some varieties of literature can best be approached indirectly, through a study of the life of the author, or of the age in which he lived. As any great work of pure literature must come out of the author's deepest life, it is evident that any knowledge of that life gained from other sources may be an important aid in the appreciation of his work. It is true that in the case of a writer of supreme and almost impartial dramatic genius, such knowledge may be of comparatively little value; though few of us will admit that it is merely an idle curiosity that would be gratified by a fuller knowledge even of the man William Shakespeare. But all the more subjective forms of literature, such as the lyric and the essay, can hardly be studied intelligently without some biographical introduction. Still more obvious is the need in many instances of some accurate knowledge of the period in which a given work is produced. For all such writing as grows directly out of political or social conditions, as oratory, or political satire, or various forms of the essay, this is clearly necessary. It would be folly to attempt to read the speeches of Edmund Burke or the political writings of Swift without historical introduction and comment. But the historical setting is hardly less important in many other forms of literature. For the whole cast of an author's mind, the habitual tone of his feeling on most important matters, is often largely decided by his environment. It is only a very inadequate appreciation, for example, of the work not only of Carlyle and Ruskin but of Tennyson, Browning, and Matthew Arnold, that is possible without some correct knowledge of the varying attitude of these men toward important movements in English thought, social, economic, religious, between 1830 and 1880. It must always be an important part of the duty of the college teacher of literature to provide such biographical and historical information.
Knowledge of an author's style to be result of appreciative study of his works and not gathered from texts on literary criticism
All careful study of literature must involve some attention to manner or style—not so much, however, for its own sake, as a means for the fuller appreciation of what is read. In strictness, style has only one virtue, clearness; only one vice, obscurity. A perfect style is a transparent medium through which we plainly see the thought and feeling of the writer. Such a style may, indeed, often have striking peculiarities, but these are really the marks of the writer's personality, which his style reveals without exaggerating. All rhetorical study ought, therefore, to accompany or follow, not to precede, the careful reading for appreciation. No good book ought ever to be considered a mere corpus vile for rhetorical praxis.
Careful attention to critical analysis
Of much greater value is that distinctively critical analysis which endeavors to discover the different elements, intellectual, imaginative, emotional, that enter into any work of literature, and to determine their relative amount and importance. Such analysis may well form the subject of classroom discussion, and advanced students should often be required to put the conclusions they have drawn from such discussion into the form of a finished critical essay. All exercises of this kind presuppose, of course, that the work criticized has been read with interest and intelligence; but no form of literary study is more stimulating or tends more directly to the formation of original and accurate critical judgments. It affords the best test of real literary appreciation.
Content of college course in literature
Obviously it is impossible with this method of study to cover the entire field of English literature in the four college years. It is wiser to read a few great books well than to read many smaller ones hurriedly. It becomes, therefore, an important question on what principle these books should be selected and grouped in courses. In the opinion of the present writer, it is well to begin with a brief outline sketch of the history of the literature given either in a textbook or by lectures, and illustrated by a few representative works, read carefully but without much detailed or intensive study. Such an introductory course may have little cultural value; but it furnishes that knowledge of the chronological succession of English writers, and the varieties of literature dominant in each period, that is necessary for further intelligent study. This knowledge should, indeed, be given in the preparatory schools, but unfortunately it usually is not. When given in college, the course should, if possible, be assigned to the freshman year. In the later years, the works selected for study will best be grouped either by period or by subject. Both plans have their advantages, but in most instances the first will be found the better. The study of a group of contemporary writers always gains in interest as we see how they all, with striking individual differences in temper and subject, yet reflect the social and moral life of their age. Sometimes the two plans may be united; a particular form of literature may be studied as the best representative of a period, as the political pamphlet for the age of Queen Anne or the extended essay for the first quarter of the nineteenth century. And in some rare instances a single writer is at once the highest representative of the age in which he lived and the supreme master of the form in which he wrote—as Shakespeare for the drama and Milton for the epic.
Gradation of courses and adaptation of methods to growing capacities of students
These courses should all—in the judgment of the present writer—be elective, but should be arranged in some natural sequence, those assigned to a lower year being preparatory to those of a higher. This sequence need not always be historical; the simpler course may well precede those which for any reason are more difficult. Methods of instruction will also naturally change, becoming less narrowly didactic with the advancement of the student. In the senior year the teacher will usually prefer to meet his classes in small sections, on the seminar plan, for informal discussion and the criticism of papers written by his pupils on questions suggested by their reading. Of such questions, students who for four years have been reading the masterpieces of English literature will surely find no lack.