Special Method in the Reading of Complete English Classics Part 1

Special Method in the Reading of Complete English Cla.s.sics.

by Charles McMurry.

CHAPTER I

EDUCATIONAL VALUE OF LITERATURE

The gradual introduction of the choicer products of literature into the grades of the common school has been going on for several years.

Bringing the school children face to face with the thoughts of the masters has had often a thrilling effect, and the feeling has spread among teachers that a new door has been opened into what Ruskin calls "The King's Gardens." As we stand at this open portal to the Elysian Fields of literature, there may fall upon us something of the beauty, something even of the solemn stillness, of the arched cathedral with its golden windows. But how inadequate is the Gothic cathedral, or the Greek temple, to symbolize the temple of literature.

Within less than a score of years there has been such reading of varied literary masterpieces by children as to bring us face to face with a problem of prime significance in education, the place and importance of literature in the education of American children.

Millions of children are introduced yearly to bookland, and it is a matter of greater importance than what Congress does, what provision is made for these oncoming millions in the sunlit fields and forest glades of literature, where the boys and girls walk in happy companions.h.i.+p with the "wisest and wittiest" of our race. We have now had enough experience with these treasures of culture to get a real foretaste of the feast prepared for the growing youth. We know that their appet.i.tes are keen and their digestive powers strong. It is inc.u.mbent upon educators to get a comprehensive survey of this land and to estimate its resources. Other fields of study, like natural science, geography, music, etc., are undergoing the same scrutiny as to their educative value. Literature, certainly a peer in the hierarchy of great studies, if not supreme in value above others, is one of the most difficult to estimate. Tangible proofs of the vital culture-force of good literature upon growing minds can be given in many individual cases. But to what degree it has general or universal fitness to awaken, strengthen, and refine all minds, is in dispute.

It seems clear, at least, that only those who show taste and enthusiasm for a choice piece of literature can teach it with success. This requirement of appreciation and enjoyment of the study is more imperative in literature, because its appeal is not merely to the intellect and the reason, as in other studies, but especially to the emotions and higher aesthetic judgments, to moral and religious sentiment in ideal representation.

It has been often observed that discussions of the superior educative value of literature before bodies of teachers, while entertaining and delightful, fall far short of lasting results because of the teachers'

narrow experience with literature. In the case of many teachers, the primitive alphabet of literary appreciation is lacking, and the most enthusiastic appeals to the charm and exaltation of such studies fall harmless. Yet literature in the schools is hopeless without teachers who have felt at home in this delightsome land, this most real world of ideal strength and beauty.

The discussion of the subject for teachers is beset, therefore, with peculiar and seemingly insurmountable difficulties. The strength, charm, and refinement of literature are known only to those who have read the masters with delight, while even people of cultured taste listen doubtfully to the praise of authors they have never read. To one enamoured of the music of Tennyson's songs, the very suggestion of "In Memoriam" awakens enthusiasm. To one who has not read Tennyson and his like, silence on the subject is golden. To those not much travelled in the fields of literature, there is danger of speaking in an unknown tongue, while they, of all others, need a plain and convincing word. To speak this plain and convincing word to those who may have acquired but little relish for literature, and that little only in the fragmentary selections of the school readers, is a high and difficult aim. But teachers are willing to learn, and to discover new sources of enthusiasm in their profession. It is probable, also, that the original capacity to enjoy great literature is much more common than is often supposed, and that the great average of teachers is quite capable of receiving this powerful stimulus. The fact is, our common schools have done so little, till of late, to cultivate this fine taste, that we have faint reason to expect it in our teachers.

Overwhelmed as we are with the folly of indulging in the praise of literature before many whose ears have been but poorly attuned to the sweet melody or majestic rhythm of the masters, we still make bold to grapple with this argument. There is surely no subject to which the teachers need more to open their eyes and ears and better nature, so as to take in the enrichment it affords. There is encouragement in the fact that many teachers fully appreciate the worth of these writers, and have succeeded in making their works beautiful and educative to the children.

Very many other teachers are capable of the full refres.h.i.+ng enjoyment of cla.s.sic works, when their attention and labor are properly expended upon them. The colleges, universities, high schools, and normal schools have largely abandoned the dull epitomizing of literature, the talk about authors, for the study of the works themselves of the masters. The consequence is, that the study of literature in English is becoming an enthusiasm, and teachers of this type are multiplying.

The deeper causes for this widespread lack of literary appreciation among the people, and even among teachers and scholars, is found partly in the practical, scientific, and utilitarian spirit of the age, and partly in the corresponding unliterary courses of study which have prevailed everywhere in our common schools. The absence of literary standards and taste among teachers is due largely to the failure of the schools themselves, hitherto, to cultivate this sort of proficiency.

Those very qualities which give to literature its supreme excellence, its poetic beauty, its artistic finish and idealism, are among the highest fruits of culture, and are far more difficult of attainment than mere knowledge. It is no small thing to introduce the rarest and finest culture of the world into the common school, and thus propagate, in the broadest democratic fas.h.i.+on, that which is the peculiar, superior refinement of the choicest spirits of the world. If progress in this direction is slow, we may remember that the best ideals are slow of attainment.

There is also an intangible quality in all first-cla.s.s literature, which is not capable of exact description or demonstration. George Willis Cooke, in "Poets and Problems" (pp. 31-32), says:--

"Poetry enters into those higher regions of human experience concerning which no definite account can be given; where all words fail; about which all we know is to be obtained by hints, symbols, poetic figures, and imagings. Poetry is truer and more helpful than prose, because it penetrates those regions of feeling, beauty, and spiritual reality, where definitions have no place or justification. There would be no poetry if life were limited to what we can understand; nor would there be any religion. Indeed, the joy, the beauty, and the promise of life would all be gone if there were nothing which reaches beyond our powers of definition. The mystery of existence makes the grandeur and worth of man's nature, as it makes for him his poetry and his religion. Poetry suggests, hints, images forth, what is too wonderful, too transcendent, too near primal reality, too full of life, beauty, and joy, for explanation or comprehension. It embodies man's longing after the Eternal One, expresses his sense of the deep mystery of Being, voices his soul sorrow, illumines his path with hope and objects of beauty.

Man's aspiration, his sense of imperfection, his yearning for a sustaining truth and reality, as the life within and over all things, find expression in poetry; because it offers the fittest medium of interpretation for these higher movements of soul. Whenever the soul feels deeply, or is stirred by a great thought, the poetic form of utterance at once becomes the most natural and desirable for its loving and faithful interpretation."

This intangible excellence of superior literature, which defies all exact measurement by the yardstick, puzzles the practical man and the scientist. There is no way of getting at it with their tools and measurements. They are very apt to give it up in disgust and dismiss it with some uncomplimentary name. But Shakespeare's mild reign continues, and old Homer sings his deathless song to those who wish to hear.

Teachers need both the exact methods of science and the spiritual life of the poets, and we may well spend some pains in finding out the life-giving properties of good literature.

Lowell, in his "Books and Libraries," says:--

"To wash down the drier morsels that every library must necessarily offer at its board, let there be plenty of imaginative literature, and let its range be not too narrow to stretch from Dante to the elder Dumas. The world of the imagination is not the world of abstraction and nonent.i.ty, as some conceive, but a world formed out of chaos by a sense of the beauty that is in man and the earth on which he dwells. It is the realm of Might-be, our haven of refuge from the shortcomings and disillusions of life. It is, to quote Spenser, who knew it well,--

"'The world's sweet inn from care and wearisome turmoil.' Do we believe, then, that G.o.d gave us in mockery this splendid faculty of sympathy with things that are a joy forever? For my part, I believe that the love and study of works of imagination is of practical utility in a country so profoundly material (or, as we like to call it, practical) in its leading tendencies as ours. The hunger after purely intellectual delights, the content with ideal possessions, cannot but be good for us in maintaining a wholesome balance of the character and of the faculties. I for one shall never be persuaded that Shakespeare left a less useful legacy to his countrymen than Watt. We hold all the deepest, all the highest, satisfactions of life as tenants of imagination. Nature will keep up the supply of what are called hard-headed people without our help, and, if it come to that, there are other as good uses for heads as at the end of battering-rams."

"But have you ever rightly considered what the mere ability to read means? That it is the key which admits us to the whole world of thought and fancy and imagination? to the company of saint and sage, of the wisest and wittiest at their wisest and wittiest moments? That it enables us to see with the keenest eyes, hear with the finest ears, and listen to the sweetest voices of all time? More than that, it annihilates time and s.p.a.ce for us; it revives for us without a miracle the Age of Wonder, endowing us with the shoes of swiftness and the cap of darkness, so that we walk invisible like fern-seed, and witness unharmed the plague at Athens or Florence or London; accompany Caesar on his marches, or look in on Catiline in council with his fellow-conspirators, or Guy Fawkes in the cellar of St. Stephen's. We often hear of people who will descend to any servility, submit to any insult, for the sake of getting themselves or their children into what is euphemistically called good society. Did it ever occur to them that there is a select society of all the centuries to which they and theirs can be admitted for the asking, a society, too, which will not involve them in ruinous expense, and still more ruinous waste of time and health and faculties?

"The riches of scholars.h.i.+p, the benignities of literature, defy fortune and outlive calamity. They are beyond the reach of thief or moth or rust. As they cannot be inherited, so they cannot be alienated. But they may be shared, they may be distributed."

This notion of the select companions.h.i.+p of books finds also happy expression in Ruskin's "Sesame and Lilies":--

"We may intrude ten minutes' talk on a cabinet minister, answered probably with words worse than silence, being deceptive; or s.n.a.t.c.h, once or twice in our lives, the privilege of throwing a bouquet in the path of a princess, or arresting the kind glance of a queen. And yet these momentary chances we covet; and spend our years, and pa.s.sions, and powers in pursuit of little more than these; while, meantime, there is a society continually open to us, of people who will talk to us as long as we like, whatever our rank or occupation;--talk to us in the best words they can choose, and with thanks if we listen to them. And this society, because it is so numerous and so gentle,--and can be kept waiting round us all day long, not to grant audience, but to gain it; kings and statesmen lingering patiently in those plainly furnished and narrow anterooms, our bookcase shelves,--we make no account of that company,--perhaps never listen to a word they would say, all day long!

"This court of the past differs from all living aristocracy in this: it is open to labor and to merit, but to nothing else. No wealth will bribe, no name overawe, no artifice deceive, the guardian of those Elysian gates. In the deep sense, no vile or vulgar person ever enters there. At the portieres of that silent Faubourg St.-Germain, there is but brief question, 'Do you deserve to enter?' 'Pa.s.s. Do you ask to be the companions of n.o.bles? Make yourself n.o.ble, and you shall be. Do you long for the conversation of the wise? Learn to understand it, and you shall hear it. But on other terms?--no. If you will not rise to us, we cannot stoop to you. The living lord may a.s.sume courtesy, the living philosopher explain his thought to you with considerable pain; but here we neither feign nor interpret; you must rise to the level of our thoughts if you would be gladdened by them, and share our feelings, if you would recognize our presence.'"

Wordsworth says:--

"Books, we know, Are a substantial world, both pure and good; Round these, with tendrils strong as flesh and blood, Our pastime and our happiness will grow."

Carlyle says:--

"We learn to read, in various languages, in various sciences; we learn the alphabet and letters of all manner of Books. But the place where we are to get knowledge, even theoretic knowledge, is the Books themselves!

It depends on what we read, after all manner of Professors have done their best for us. The true University of these days is a Collection of Books."

Were we willing to accept the testimony of great writers and thinkers, we should but too quickly acknowledge the supreme value of books. James Baldwin, in the first chapter of his "Book Lover," has collected more than a score of like utterances of great writers "In Praise of Books."

Such testimony may at least suggest to some of us who have drunk but sparingly of the refres.h.i.+ng springs of literature, that there are better things in store for us.

We will first inquire into those vital elements of strength which are peculiar to literature.

One of the elements that goes into the make-up of a masterpiece of literature is its underlying, permanent truth. Whether written to-day or in earlier centuries, it must contain lasting qualities that do not fade away or bleach out or decay. Time and weather do not stain or destroy its merit. Some cla.s.sics, as Gray's "Elegy," or "Thanatopsis," are like cut diamonds. The quality that gives them force and brilliancy is inherent, and the form in which they appear has been wrought out by an artist. The fundamental value of a cla.s.sic is the deep, significant truth which, like the grain in fine woods, is wrought into its very structure. The artist who moulds a masterpiece like "Enoch Arden" or "The Scarlet Letter" is not a writer of temporary fame. The truth to which he feels impelled to give expression is strong, natural, human truth, which has no beginning and no end. It is true forever. Schiller's William Tell, though idealized, is a human hero with the hearty thoughts of a real man. Shylock is a Jew of flesh and blood, who will laugh if he is tickled, and break into anger if he is thwarted. The true poet builds upon eternal foundations. The bookmaker or rhymer is satisfied with empty or fleeting thoughts and with a pa.s.sing notoriety. New books are often caught up and blazoned as cla.s.sics which a few years reveal as patchwork and tinsel. Time is a sure test. Showy tinsel rusts and dulls its l.u.s.tre, while simple poetic truth s.h.i.+nes with growing brightness.

Schlegel, in his "Dramatic Art and Literature," thus contrasts the false and the true (pp. 18-19):--

"Poetry, taken in its widest acceptation, as the power of creating what is beautiful, and representing it to the eye or the ear, is a universal gift of Heaven, being shared to a certain extent even by those whom we call barbarians and savages. Internal excellence is alone decisive, and where this exists we must not allow ourselves to be repelled by the external appearance. Everything must be traced up to the root of human nature: if it has sprung from thence, it has an undoubted worth of its own; but if, without possessing a living germ, it is merely externally attached thereto, it will never thrive nor acquire a proper growth. Many productions which appear at first sight dazzling phenomena in the province of the fine arts, and which as a whole have been honored with the appellation of works of a golden age, resemble the mimic gardens of children: impatient to witness the work of their hands, they break off here and there branches and flowers, and plant them in the earth; everything at first a.s.sumes a n.o.ble appearance: the childish gardener struts proudly up and down among his showy beds, till the rootless plants begin to droop, and hang their withered leaves and blossoms, and nothing soon remains but the bare twigs, while the dark forest, on which no art or care was ever bestowed, and which towered up toward heaven long before human remembrance, bears every blast unshaken, and fills the solitary beholder with religious awe."

In his "Poets and Problems," George Willis Cooke fitly portrays the poet's function (pp. 42, 32, and 44):--

"The poet must be either a teacher or an artist; or, what is better, he may be both in one. Therefore, he can never stop at form or at what delights and charms merely. He must go on to the expression of something of deep and real abidingness of thought and beauty. This comes at last to be the real thing for which he works, which he seeks to bring into expression with such power and grandeur in it as he can produce, and which he wills to send forth for the sake of this higher impression on the world."

"Man has within him a need for the food which does not perish; he always is finding anew that he cannot live by bread alone. His mind will crave truth, his heart love, somewhat to satisfy the inward needs of life. A heavenly homesickness will draw him away from the material to those aesthetic and spiritual realities which are at the source of the truest poetry. Whenever these wants find fit interpretation, the poet and the poetic method of expression appear and give to them outward forms of beauty. Consequently the poet is

'One in whom persuasion and belief Have ripened into faith, and faith become A pa.s.sionate intuition.'

"The true poet is the man of his time who is most alive, who feels, sees, and knows the most. In the measure of his life he is the greatest man of his age and country. His eye sees farther and more clearly; his heart beats more warmly and with a more universal sympathy; his thought runs deeper and with a swifter current, than is the case with other men.

He is the oracle and guide, the inspirer and the friend, of those to whom he sings. He creates life under the ribs of dead tradition; he illumines the present with heart flames of beaconing truth, and he makes the future seem like home joys far off, but drawing ever nigher. The poet is the world's lover."

Emerson found the Greeks standing as close to nature and truth as himself ("Essay on History"):--

"The costly charm of the ancient tragedy, and indeed of all old literature, is, that the persons speak simply,--speak as persons who have great good sense without knowing it, before yet the reflective habit has become the predominant habit of the mind. Our admiration of the antique is not admiration of the old, but of the natural. The Greeks are not reflective, but perfect in their senses and in their health, with the finest physical organization in the world. Adults acted with the simplicity and grace of children."

In his "Defence of Poetry" Sh.e.l.ley says:--

"Poetry thus makes immortal all that is best and most beautiful in the world; it arrests the vanis.h.i.+ng apparitions which haunt the interlunations of life, and, veiling them or in language or in form, sends them forth among mankind, bearing sweet news of kindred joy to those with whom their sisters abide--abide, because there is no portal of expression from the caverns of the spirit which they inhabit into the universe of things. Poetry redeems from decay the visitations of the divinity in man."

Carlyle, in his "Heroes and Hero-wors.h.i.+p," portrays the deeper art and insight of the poet thus:--

"For my own part, I find considerable meaning in the old vulgar distinction of Poetry being metrical, having music in it, being a Song.

Truly, if pressed to give a definition, one might say this as soon as anything else: If your delineation be authentically musical, musical not in word only, but in heart and substance, in all the thoughts and utterances of it, in the whole conception of it, then it will be poetical; if not, not. Musical: how much lies in that! A musical thought is one spoken by a mind that has penetrated into the inmost heart of the thing; detected the inmost mystery of it, namely the melody that lies hidden in it; the inward harmony of coherence which is its soul, whereby it exists, and has a right to be, here in this world. All inmost things, we may say, are melodious; naturally utter themselves in Song. The meaning of Song goes deep. Who is there that, in logical words, can express the effect music has upon us? A kind of inarticulate unfathomable speech, which leads us to the edge of the Infinite, and lets us for moments gaze into that!