l. 65-68.—Terror and fear increase until the climax on “fall.”
l. 69, 70.—Terror and pity.
l. 71.—Observe the transition. Restrained pathos to the end.
The most important fact to be borne in mind in endeavoring to develop the pupil’s sympathy with what he describes is this: imitation of sounds, and of gestures, and of movement, is a very low order of art. We can not imitate thunder, but we can show in our voices the awe that it inspires. When we unconsciously hurry our reading under the impulse the imagination receives from contemplating, let us say, the rapid movement of a cavalry charge, we do so not in imitation of, but in sympathy with, the picture. This is not primarily a question of art, but of nature. It is only ignorant teaching that says to a pupil, “Is that the way the thunder roars?” or “Read more rapidly; don’t you see that you are describing the flight of the horses?” Furthermore, if we read slowly a passage describing a funeral procession, there is no conscious imitation of slowness, but a sympathy with the solemnity, stateliness and dignity of the occasion.
A very little observation will show us whether the imitation is conscious or sympathetic. In the former case, the voice will be expressing merely speed or slowness. In the latter, there will be speed or slowness, too, but accompanied by an indefinable and yet recognizable quality of voice, which is the expression of our sympathy. This is an infallible criterion.
Lastly, it must be urged that we give more time to this work. The imagination cannot be developed in a week or a month; and unless there is imagination, there can be no sympathy. It is difficult to restrain one’s self and not dwell longer on the value of the training of the imagination. We have no hesitation in saying that that feature of education is the most neglected. Such training as is here suggested will, in many cases, do much to bring about a more favorable condition of affairs. But it takes time, and plenty of it. The teacher should read to the class quite often such passages as are likely to stimulate the imagination. Make the class follow attentively and get them to give back the picture, as far as possible, in minutest detail. Do this again and again and improvement must follow. Just in proportion as the imagination is stimulated may we hope for a better class of reading. We have no time to teach any subject poorly!
This phase of the subject may be presented to pupils in some such manner as this:
Let me tell you a story:
The other day, a little child came to its mother, saying, “Oh, mother! I just saw a beautiful toy in the window: I wish you would buy it for me.” The sweet voice was full of pleading. The mother was very poor, and had hardly earned enough to pay for fuel. How could she spare even the few pennies for the toy? But she said to herself, “This is Christmas time;” and the tears came into her eyes. The little one saw the tears, and said: “What are you crying for, mother?” And then the mother hugged her child to her breast and kissed her again and again, saying over and over, “Because I love you! Because I love you!”
When Christmas morning dawned the little toy was on the mantel and the child was happy. But when the time for breakfast came, the child asked her mother why she did not eat; and the mother answered, “I am not hungry, darling; don’t mind me,” and she smiled tenderly upon the sweet face, upturned to kiss her.