Craftsmanship in Teaching

by William C. Bagley

At first you will be fascinated by the novelty of your work. But that soon passes away. Then comes the struggle,—then comes the period, be it long or short, when you will work with your eyes upon the clock, when you will count the weeks, the days, the hours, the minutes that lie between you and vacation time. Then will be the need for all the strength and all the energy that you can summon to your aid. Fail here, and your fate is decided once and for all. If, in your work, you never get beyond this stage, you will never become the true craftsman. You will never taste the joy that is vouchsafed the expert, the efficient craftsman.

The length of this period varies with different individuals. Some teachers "find themselves" quickly. They seem to settle at once into the teaching attitude. With others is a long, uphill fight. But it is safe to say that if, at the end of three years, your eyes still habitually seek the clock,—if, at the end of that time, your chief reward is the check that comes at the end of every fourth week,—then your doom is sealed.

III

And the second vow that I should urge these graduates to take is the vow of fidelity to the spirit of their calling. We have heard a great deal in recent years about making education a profession. I do not like that term myself. Education is not a profession in the sense that medicine and law are professions. It is rather a craft, for its duty is to produce, to mold, to fashion, to transform a certain raw material into a useful product. And, like all crafts, education must possess the craft spirit. It must have a certain code of craft ethics; it must have certain standards of craft excellence and efficiency. And in these the normal school must instruct its students, and to these it should secure their pledge of loyalty and fidelity and devotion.

A true conception of this craft spirit in education is one of the most priceless possessions of the young teacher, for it will fortify him against every criticism to which his calling is subjected. It is revealing no secret to tell you that the teacher's work is not held in the highest regard by the vast majority of men and women in other walks of life. I shall not stop to inquire why this is so, but the fact cannot be doubted, and every now and again some incident of life, trifling perhaps in itself, will bring it to your notice; but most of all, perhaps you will be vexed and incensed by the very thing that is meant to put you at your ease—the patronizing attitude which your friends in other walks of life will assume toward you and toward your work.

When will the good public cease to insult the teacher's calling with empty flattery? When will men who would never for a moment encourage their own sons to enter the work of the public schools, cease to tell us that education is the greatest and noblest of all human callings? Education does not need these compliments. The teacher does not need them. If he is a master of his craft, he knows what education means,—he knows this far better than any layman can tell him. And what boots it to him, if, with all this cant and hypocrisy about the dignity and worth of his calling, he can sometimes hold his position only at the sacrifice of his self-respect?

But what is the relation of the craft spirit to these facts? Simply this: the true craftsman, by the very fact that he is a true craftsman, is immune to these influences. What does the true artist care for the plaudits or the sneers of the crowd? True, he seeks commendation and welcomes applause, for your real artist is usually extremely human; but he seeks this commendation from another source—from a source that metes it out less lavishly and yet with unconditioned candor. He seeks the commendation of his fellow-workmen, the applause of "those who know, and always will know, and always will understand." He plays to the pit and not to the gallery, for he knows that when the pit really approves the gallery will often echo and reëcho the applause, albeit it has not the slightest conception of what the whole thing is about.

What education stands in need of to-day is just this: a stimulating and pervasive craft spirit. If a human calling would win the world's respect, it must first respect itself; and the more thoroughly it respects itself, the greater will be the measure of homage that the world accords it. In one of the educational journals a few years ago, the editors ran a series of articles under the general caption, "Why I am a teacher." It reminded me of the spirited discussion that one of the Sunday papers started some years since on the world-old query, "Is marriage a failure?" And some of the articles were fully as sickening in their harrowing details as were some of the whining matrimonial confessions of the latter series. But the point that I wish to make is this: your true craftsman in education never stops to ask himself such questions. There are some men to whom schoolcraft is a mistress. They love it, and their devotion is no make-believe, fashioned out of sentiment, and donned for the purpose of hiding inefficiency or native indolence. They love it as some men love Art, and others Business, and others War. They do not stop to ask the reason why, to count the cost, or to care a fig what people think. They are properly jealous of their special knowledge, gained through years of special study; they are justly jealous of their special skill gained through years of discipline and training. They resent the interference of laymen in matters purely professional. They resent such interference as would a reputable physician, a reputable lawyer, a reputable engineer. They resent officious patronage and "fussy" meddling. They resent all these things manfully, vigorously. But your true craftsman will not whine. If the conditions under which he works do not suit him, he will fight for their betterment, but he will not whine.

IV

And yet this vow of fidelity and devotion to the spirit of schoolcraft would be an empty form without the two complementary vows that give it worth and meaning. These are the vow of poverty and the vow of service. It is through these that the true craft spirit must find its most vigorous expression and its only justification. The very corner stone of schoolcraft is service, and one fundamental lesson that the tyro in schoolcraft must learn, especially in this materialistic age, is that the value of service is not to be measured in dollars and cents. In this respect, teaching resembles art, music, literature, discovery, invention, and pure science; for, if all the workers in all of these branches of human activity got together and demanded of the world the real fruits of their self-sacrifice and labor,—if they demanded all the riches and comforts and amenities of life that have flowed directly or indirectly from their efforts,—there would be little left for the rest of mankind. Each of these activities is represented by a craft spirit that recognizes this great truth. The artist or the scientist who has an itching palm, who prostitutes his craft for the sake of worldly gain, is quickly relegated to the oblivion that he deserves. He loses caste, and the caste of craft is more precious to your true craftsman than all the gold of the modern Midas.