One of the best points of such a system of literary composition is that even if slower boys cannot effect much, it gives a most wholesome opening to the creative faculties of boys, whose minds, if stifled and compressed, are most likely to work in unwholesome and tormenting directions.
My suggestion then becomes part of a larger plea, the plea for more direct cultivation of enjoyment in education. Some of our worst mistakes in education arise from our not basing it upon the actual needs and faculties of human nature, but upon the supposed constitution of a child constructed by the starved imagination of pedants and moralists and practical men.
One of the first requisites in cultivating intellectual and artistic pleasure is to build up taste out of the actual perceptions of the child. That is a factor which has been most stubbornly and unintelligently disregarded in education. Developments in character are of the nature of living things; they cannot be superimposed they must be rooted in the temperament and they must draw nurture and sustenance out of the spirit, as the seed imbibes its substance from the unseen soil and the hidden waters. But what has been constantly done is to introduce the broadest effects and the simplest romance, directly and suddenly to the biggest masterpieces. The absence of all gradation and reconciliation has been characteristic of our literary education. Of course there is an initial difficulty in the case of the classics, that there is very little in either Greek or Latin which really appeals to an immature taste at all; and such books as might appeal to inquisitive and inexperienced minds, such as Homer or the Anabasis of Xenophon, are made unattractive by the method of giving such short snippets, and insisting on what used to be called thorough parsing. Even Alice in Wonderland, let me say, could only prove a drearily bewildering book, if read at the rate of twenty lines a lesson, and if the principal tenses of all the verbs had to be repeated correctly. It is absolutely essential, if any love of literature is to be superinduced, that something should be read fast enough to give some sense of continuity and range and horizon. The practice of dictionary-turning is sufficient by itself to destroy intellectual pleasure, but it used to be defended as a base sort of bribe to strengthen memory: it was argued that boys would try to remember words to save themselves the trouble of looking them up. But this has no origin in fact. Boys used not to be encouraged to guess at words, but to be punished for shirking work if they had not looked them out. It is to be hoped that English will be in the future increasingly taught in schools; but even so there is the danger of connecting it too much with erudition. The old Clarendon Press Shakespeare was an almost perfect example of how not to edit Shakespeare for boys; the introductions were learned and scholarly, the notes were crammed with philology, derivation, illustration. As a matter of fact there is a good deal that is interesting, even to small minds, in the connection and derivation of words, if briskly communicated. Most boys are responsive to the pleasure of finding a familiar word concealed under a variation of shape; but this should be conveyed orally. What is really requisite is that boys should be taught how to read a book intelligently. In dealing with classical books, vocabulary must be always a difficulty, and I myself very much doubt the advisability in the case of average boys of attempting to teach more than one foreign language at a time, especially when in dealing, say, with three kindred languages, such as Latin, French, and English, the same word, such as spiritus, esprit, and spirit bear very different significations. The great need is that there should be some work going on in which the boys should not be conscious of dragging an ever-increasing burden of memory. Let me take a concrete case. A poem like the Morte d'Arthur, or The Lay of the Last Minstrel, is well within the comprehension of quite small boys. These could be read in a class, after an introductory lecture as to date, scene, dramatis personae, with perfect ease, words explained as they occurred, difficult passages paraphrased, and the whole action of the story could pass rapidly before the eye. Most boys have a distinct pleasure in rhyme and metre. Of course it is an immense gain if the master can really read in a spirited and moving manner, and a training in reading aloud should form a part of every schoolmaster's outfit. I should wish to see this reading lesson a daily hour for all younger boys, so as to form a real basis of education. Three of these hours could be given to English, and three to French, for in French there is a wide range both of simple narrative stories and historical romances. The aim to be kept in view would be the very simple one of proving that interest, amusement and emotion can be derived from books which, unassisted, only boys of tougher intellectual fibre could be expected to attack. The personalities of the authors of these books should be carefully described, and the result of such reading, persevered in steadily, would be, what is one of the most stimulating rewards of wider knowledge, the sudden realisation, that is, that books and authors are not lonely and isolated phenomena, but that the literature of a nation is like a branching tree, all connected and intertwined, and that the books of a race mirror faithfully and vividly the ideas of the age out of which they sprang. What makes books dull is the absence of any knowledge by the reader of why the author was at the trouble of expressing himself in that particular way at that particular time. When, as a small boy, I read a book of which the whole genesis was obscure to me, it used to appear to me vaguely that it must have been as disagreeable to the author to write it as it was for me to read it. But if it can be once grasped that books are the outcome of a writer's interest or sense of beauty or emotion or joy, the whole matter wears a different aspect.
The same principle applies with just the same force to history and geography; both of these studies can be made interesting, if they are not regarded as isolated groups of phenomena, but are approached from the boy's own experience as opening away and outwards from what is going on about him. The object is or ought to be slowly to extend the boy's horizon, to show him that history holds the seeds and roots of the present, and that geography is the life-drama which he sees about him, enacting itself under different climatic and physiographical conditions. The dreariness and dreadfulness of knowledge to the immature mind is because it represents itself as a mass of dry facts to be mastered without having any visible or tangible connection with the boy's own experience. The aim should rather be to teach him to look with zest and interest at what is going on outside his own narrow circle, and to help him to move perceptively along the paths of time and space which diverge in all directions from the scene where he finds himself.
It may be indisputably stated that all connected knowledge is stimulating, and that all unconnected knowledge is at best mechanical. Perhaps one of the most fruitful of all subjects is vivid biography, and no serious educator could perform a more valuable task than in providing a series of biographies of great men, really intelligible to youthful minds. As a rule, biographies of the first order require an amount of detailed knowledge in the reader which puts them out of the reach of ill-stored minds. But I have again and again found with boys that simple biographical lectures are among the most attractive of all lessons. At one time, with my private pupils, I would take a book at random out of my shelves, read an interesting extract or two, and then say that I would try to show why the author chose such a subject, why he wrote as he did, and how it all sprang out of his life and character and circumstances.
Of course the difficulty in all this is that the field of knowledge is so vast and various, while the capacities of boys are so small, and the time to be spent on their education so short, that we quail before the attempt to grapple with the problem. We have moreover a vague idea that the well-informed man ought to have a general notion of the world as it is, the course of history, the literature of the ages; and at the same time the scientists are maintaining that a general knowledge of the laws and processes of nature is even more urgently needed. I cannot treat of science here, but I fully subscribe to the belief that a general knowledge of science is essential. But the result of our believing that it is advisable to know so much, is that we attempt to spread the thinnest and driest paste of knowledge over the mind, and all the vivid life of it evaporates in the process. The thing is, frankly, far too big to attempt; and, we must henceforth set our faces against the attainment; of mere knowledge as either advisable or possible. What we must try to do is to educate the faculties of curiosity, interest, imagination and sympathy; we must begin from the boy himself, and conduct him away from himself. What we really ought to aim at is to give him the sense that he is surrounded by strange and beautiful mysteries of nature, of which he can himself observe certain phenomena; that human history, as well as the great world about him, is crowded with interesting and animating figures who have laboured, toiled, loved, acted, suffered, sinned, have felt the impulse both of base and selfish desires, but no less of beautiful, exalted, and inspiring hopes. We want to convince the young that it is not well to be narrow, close-fisted, insolent, suspicious, petty, self-satisfied. Imaginative sympathy, that is to be the end of all our efforts. If we aim only at producing sympathy, we may get a vague sentimentalism which is just distressed by apparent suffering, and anxious to relieve it momentarily, without reflecting whether it is not the outcome of perfectly curable faults of system and habit. If we aim only at imagination, then we get a barren artistic pleasure in dramatic situations and romantic effects. What we ought to aim at is the sympathy which pities and feels for others, as well as admires and imitates them; and this must be reinforced by the imagination which can concern itself with the causes of what otherwise are but vague emotions. We want to make boys on the one hand detest tyranny and high-handedness and bigotry and ruthless exercise of power, and on the other hand mistrust stupidity and ignorance and baseness and selfishness and suspiciousness. The study of high literature is valuable not as a mere exercise in erudition and linguistic nicety and critical taste, but because the great books mirror best the highest hopes and visions of human nature. The precise extent of the intellectual range matters very little, compared with the perceptiveness and emotion by which the realisation of other lives, other needs, other activities, other problems are accompanied.
I must not be supposed, in saying this, to be leaving out of sight the virile exercise of logical and rational faculties; but that is another side of education; and the grave deficiency which I detect in the old theory was that practically all the powers and devices of education were devoted to what was called fortifying the mind and making it into a perfect instrument, while there were left out of sight the motives which were to guide the use of that instrument, and the boy was led to suppose that he was to fortify his mind solely for his own advantage. This individualist theory must somehow be modified. The aim of the process I have described is not simply to indicate to the boy the amount of selfish pleasure which he can obtain from literary masterpieces; it is rather to show the boy that he is not alone and isolated, in a world where it is advisable for him to take and keep all that he can; but that he is one of a great fellowship of emotions and interests, and that his happiness depends upon his becoming aware of this, while his usefulness and nobleness must depend upon his disinterestedness, and upon the extent to which he is willing to share his advantages. The teaching of civics, as it is called, may be of some use in this direction, as showing a boy his points of contact with society. But no instruction in the constitution of society is profitable, unless somehow or other the dutiful motive is kindled, and the heroic virtue of service made beautiful.
When then I speak of the training of the imagination, I really mean the kindling of motive; and here again I claim that this must be based on a boy's own experience. He understands well enough the possibility of feeling emotion in relation to a small circle, his home and his immediate friends. But he is probably, like most young creatures, and indeed like a good many elderly ones, inclined to be suspicious of all that is strange and foreign, and to anticipate hostility or indifference. What he would willingly share with a relation or friend, he eagerly withholds from an outsider. To cultivate his imaginative sympathy, to give him an insight into the ways and thoughts of other men, to show to him that the same qualities which evoke his trust and love are not the monopoly of his own small circle—this is just what must be taught, because it is exactly what is not instinctively evolved.
The training of the imagination then is a deliberate effort to persuade the young to believe in the real nobility and beauty of life, in the great ideas which are moulding society and welding communities together. It cannot be done in a year or a decade; but it ought to be the first aim of education to initiate the imagination of the young into the idea of fellowship, and to make the thought of selfish individualism intolerable. It is not perhaps the only end of education, but I can hardly believe that it has any nobler or more sacred end.