Cambridge Essays on Education

by Unknown

But this enthusiasm, indispensable for the best teaching of anything, is, so to speak, doubly indispensable for even competent teaching of literature. On the one hand the ulterior objects of the study, of which I have tried to indicate the importance, are of an impalpable kind. I doubt if there is any subject of the curriculum which it would be so difficult to commend to an uninterested pupil by an appeal to simple utilitarian motives. On the other hand there clings to literature, and particularly to poetry, which is the quintessence of literature, an air of pleasure-seeking, of holiday, of irresponsibility and detachment from the work-a-day world, which must captivate the student, or else the study itself will seem very poor fooling compared with football or hockey. If the attitude of the teacher reflects the old question of the Latin Grammar "Why should I teach you letters?" he would better turn to some other subject which his pupils will more easily recognise as appropriate to school hours.

What's Hecuba to him, or he to Hecuba,

That he should weep for her—

unless indeed he be a candidate for Responsions?

"Ah! it is just as I expected," says my friend Orbilius at this point: "this literature-lesson of yours is to be mere play, a 'soft-option' for our modern youth, who is not to be made to stand up to the tussle with Latin prose or riders in geometry." Softly, my friend! It is quite true that those twin engines of education, classics and mathematics, are adapted partly by long practice, but partly, as I too believe, by their very nature, to discipline the youthful mind to habits of intellectual honesty, of accuracy, of industry and perseverance. It is true that they accomplish some of this discipline—though at what a cost!—in the hands of indifferent teachers. It is true that every other subject of the usual curriculum is much more obviously liable than they are to the dangers of idleness, unreality, false pretence; and that the scoffs, for instance, about "playing with test-tubes," "tracing maps," "dishing up history notes," are in fact too often deserved. But in the first place, if the object to be attained is a worthy one, it is our business to face the dangers of the road, and not to give up the object. If a knowledge and love of literature is part of the birthright of our children, and a part which, as things are, very many of them will never obtain away from school, then we teachers must strive to give it them, even if the process seems shockingly frivolous to the grammarian or the geometrician. And, secondly, it is not true that the study of literature, even in the mother tongue, cannot be a discipline and a delight together. The two are very far from incompatible: indeed that discipline is most effective which is almost or quite unconsciously self-imposed in the joyous exercise of one's own faculties. The genuine footballer and the genuine scholar will both agree with Ferdinand the lover, that

There be some sports are painful, and their labour

Delight in them sets off.

And the "labour" of the boy or girl who is really wrapped up in a play of Shakespeare or is striving to express the growing sense of beauty in fitting forms of language, is no less truly spiritual discipline because it is felt not as pain but as interest and delight.

It is fortunately no part of my business to endeavour to instruct teachers in the methods of imparting the love and knowledge of literature. But the value of literary studies in education depends so much upon the spirit in which they are pursued that I may perhaps be permitted a few more words on the practical side of the subject. I have already repeated the truism that no one can impart enthusiasm who is not himself possessed of it: but even the lover of literature sometimes lacks that clear consciousness of aim, and that sympathetic understanding of the personality of his pupil; which are both essential to successful teaching. Just as the clever young graduate is tempted to dictate his own admirable history notes to a class of boys, or to puzzle them with the latest theories in archaeology or philosophy, so the literary teacher is apt to dazzle his pupils with brilliant but to them unintelligible criticism, or to surfeit them with literary history, or to impose upon them an inappropriate literary diet because it happens to suit his maturer taste or even his caprice. No one is likely to deny that such errors are possible; but I should not venture to speak so decidedly, if I were not aware of having too often fallen into them myself. And the only safeguard for the teacher is the familiar "Keep your eye on the object"—and that in a double sense. We must have a clear conception of our aim, and also a living sympathy with our pupils. I have attempted to indicate the aim, the equipment of boy or girl for civilised life and for spiritual enjoyment. It will be sympathy with our pupils which will chiefly dictate both the method and the material of our instruction. In the early stages of education this sympathy is generally to be found either in parents, if they are fond of literature, or in the teacher, who is usually of the more sympathetic sex. The stories and poetry offered to children nowadays seem to be, as a rule, sympathetically, if sometimes rather uncritically, chosen. The importance of voice and ear in receiving the due impression of literature is recognised; and the value of the child's own expression of its imaginations and its sense of rhythm and assonance is understood. Probably more teachers than Mr. Lamborn supposes would heartily subscribe to the faith which glows in his delightful little book The Rudiments of Criticism, though there must be very few who would not be stimulated by reading it.

It is when we come to the middle stage, at any rate of boyhood—for of girls' schools I am not qualified to speak—that there is a good deal to be done before the cultivation of literary taste, and all that this carries with it, will be successfully pursued. In the past, the Latin and Greek classics were, for the few who really absorbed them, both a potent inspiration and an unrivalled discipline in taste: but it is noteworthy how few even of the élite acquired and retained that lively and generous love of literature which would have enabled them to sow seeds of the divine fire far and wide—"of joy in widest commonalty spread." Considering the intensity with which the classics have been studied in the old universities and public schools of the United Kingdom, the fine flower of scholarship achieved, the sure touch of style and criticism, one cannot help being amazed at the low standard of literary culture in the rank and file of the classes from which this élite has been drawn. How rare has been the power, or even apparently the desire, of a Bradley or a Verrall or a Murray, to carry the flower of their classical culture into the fields of modern literary study! And how few and fumbling the attempts of ordinary classical teachers to train their pupils in the appreciation of our English literature!