Comenius and the Beginnings of Educational Reform

by W. S. Monroe

A correct method of instruction was to Comenius, as has already been pointed out, the panacea for most of the ills of teaching. He made reform in methodology the starting point of all his schemes for educational improvement. In the Great didactic he considers reform in methods of instructing in the sciences, arts, language, morals, and religion.

1. Science. Knowledge of nature or science requires objects to be perceived and sufficient attention for the perception of the objects. The youth who would comprehend the sciences must observe four rules: (1) he must keep the eye of his mind pure; (2) he must see that the proper relationship is established between the eye and the object; (3) he must attend to the object; (4) he must proceed from one object to another in accordance with a suitable method.

The beginning of wisdom in the sciences consists, not in the mere learning of the names of things, but in the actual perception of the things themselves. It is after the thing has been grasped by the senses that language should fulfil its function of still further explaining it. The senses are the trusty servants of the memory, leading to the permanent retention of the knowledge that has been acquired. Reasoning, also, is conditioned and mediated by the experience gained through sense-perception. It is evident, therefore, that if we wish to develop a true love and knowledge of science, we must take special care to see that everything is learned by actual observation through sense-perception. This should be the golden rule of teachers: Everything should as far as possible be placed before the senses.

When the objects themselves cannot be procured, representations of them may be used; models may be constructed or the objects may be represented by means of engravings. This is especially needful in such studies as geography, geometry, botany, zoölogy, physiology, and physics. It requires both labor and expense to produce models, but the results of such aids will more than repay the efforts. In the absence of both objects and models, the things may be represented by means of pictures.[29]

2. Arts. “Theory,” says Vives, “is easy and short, but has no result other than the gratification that it affords. Practice, on the other hand, is difficult and prolix, but of immense utility.” Since this is so, remarks Comenius, we should diligently seek out a method by which the young may be easily led to the application of such natural forces as one finds in the arts.

In the acquisition of an art, three things are required: (1) a model which the pupil may examine and then try to imitate; (2) material on which the new form is to be impressed; and (3) instruments by the aid of which the work is accomplished. After these have been provided, three things more are necessary before an art can be learned—a proper use of the materials, skilled guidance, and frequent practice.

Progress in the art studies is primarily through practice. Let the pupils learn to write by writing, to talk by talking, and to sing by singing. Since imitation is such an important factor in the mastery of an art, it is sheer cruelty to try to force a pupil to do that which you wish done, while the pupil is ignorant of your wishes. The use of instruments should be shown in practice, and not by words; by example, rather than by precept. It is many years since Quintilian wrote, “Through precepts the way is long and difficult, while through examples it is short and practicable.” But alas! remarks Comenius, how little heed the schools pay to this advice. Man is essentially an imitative animal, and it is by imitation that children learn to walk, to run, to talk, and to play.[30] Rules are like thorns to the understanding, since to grasp them requires a degree of mental development not common during the elementary school life of the child.

Comenius would have the first attempts at imitation as accurate as possible, since whatever comes first is the foundation of that which is to follow. All haste in the first steps should be avoided, lest we proceed to the advanced work before the elements have been mastered.

Perfect instruction in the arts is based on both synthesis and analysis. The synthetic steps should generally come first, since we should commence with what is easy, and our own efforts are always easiest to understand. But the accurate analysis of the work of others must not be neglected. Finally, it must be remembered that it is practice, nothing but faithful practice, that makes an artist.