In Utopia free conversation is systematically encouraged. No elementary school is supposed to open before 9 a.m.; but Egeria is in the habit of coming to school at 8.45 or earlier, so that the children who wish to do so may come and talk to her freely about the things that interest them, - what they have observed on their walks to or from school, what they have heard or read at home, what they think about things in general, and so on. The school has a good library of books which are worth reading, both in prose and verse. These the children read in school and out of school, and are thus brought into communication with other minds, with other times, with other lands. They are also accustomed to talk freely to one another about the books that they are reading. Whatever lesson may be going on, they are encouraged to ask questions about the matter in hand, and even to express their own views about it. They go out into the playground in groups and make up games and plays, discussing things freely among themselves. When they are preparing to act an historical scene or a passage from some dramatic author, they hold a sort of informal parliament, in which the actors are selected and various important questions are provisionally settled. They write letters in school to real people. The older girls take the little ones in hand, and talk to them and draw them out. When an interesting phenomenon is noticed, e.g. in a Nature ramble, the children are accustomed to discuss it in groups, and to try to think out among themselves its cause and its meaning. Gossip is of course discouraged; but it is scarcely necessary for Egeria to proscribe it; for idle talk has no attraction for children who are allowed to talk freely and frankly, at all times and in all places, about things that are really worth discussing. Life is full of interest for children who are allowed, as these are, to take an active interest in it; and subjects of conversation are therefore ever presenting themselves, in school and out of school, to the happy children of Utopia. This means that the life of each individual child is overflowing through many channels, an overflow which will carry the out-welling life into the lives of other living beings - human and infra-human, actual and imaginary - and even beyond these, when it has been met and reinforced by other surging currents, into the impersonal life of Humanity and of Nature.
(2) The Dramatic Instinct.
Whatever else young children may be, they are all born actors; and in a school which bases its scheme of education on the actualities of child life, it is but natural that the dramatic instinct should be fostered in every possible way. "Work while you work, and play while you play", is one of those trite maxims which have been unintelligently repeated till they have lost whatever value they may once have possessed. "Work while you play, and play while you work", seems to be Egeria's substitute for it; and she would, I think, do well to write those words over the porch of her school.
In the ordinary elementary school a fair amount of acting goes on in the infant department, and an occasional attempt is made, in one of the higher classes of the upper department, to act a scene from Shakespeare or an episode in English history. But during the five years or so of school life which intervene between the infant department and "Standard VI", the dramatic instinct is as a rule entirely neglected; and the consequent outgrowth of self-consciousness in the children is too often a fatal obstacle to the success of the spasmodic attempts at dramatisation which are made in the higher classes.
In Utopia "acting" is a vital part of the school life of every class, and every subject that admits of dramatic treatment is systematically dramatised. In History, for example, when the course of their study brings them to a suitable episode, the children set to work to dramatise it. With this end in view, they consult some advanced text-book or historical novel or other book of reference, and having studied with care the particular chapter in which they are interested, and having decided among themselves who are to play what parts, they proceed to make up their own dialogues, and their own costumes and other accessories. They then act the scene, putting their own interpretation on the various parts, and receiving the stimulus and guidance of Egeria's sympathetic and maeutic [ii] criticism. Their class-mates and the rest of the children in the main room look on, with their history books open in front of them, and applaud; and, by gradually familiarising themselves with the various parts, qualify themselves half-unconsciously to act as under-studies in the particular scene, and in due course to play their own parts as interpreters of some other historical episode. I know of no treatment of history which is so effective as this for young children. The actual knowledge of the facts of history which a child carries away with him from an elementary school cannot well be large, and is, in many cases, a negligible quantity. But the child who has once acted history will always be interested in it, and being interested in it will be able, without making a formal study of it, to absorb its spirit, its atmosphere, and the more significant of its facts. Nor do the advantages of the dramatic treatment of history end with the subject itself. The actors in these historical scenes are, as I have said, expressing their own interpretation of the various parts, and their own perception of the meaning of each episode as a whole. This means that they are training their imaginative sympathy, - a sovereign faculty which of all faculties is perhaps the most emancipative and expansive, - and training it, as I can testify, with striking success; for the dramatic power which they display is remarkable, and can have been generated by nothing less than sympathetic insight into the feelings of the various historical personages and the possibilities of the various situations.
It is probable that History lends itself more readily to dramatic treatment than any other subject, but it is by no means the only subject that is dramatised in Utopia. An interest in Geography is awakened by scenes in foreign lands and episodes from books of travel being acted by the children. An interest in Arithmetic, by a shop being opened, which is well equipped with weights, measures, and cardboard money, and in which a salesman stands behind the counter and sells goods to a succession of customers. An interest in Literature by the acting, with improvised costumes, of passages from Shakespeare's plays, or scenes from Scott's and Dickens' novels. Simple plays to illustrate Nature-study are acted by the younger children; while the Folk Songs, which, as we shall see, play a prominent part in the musical life of the children, are acted as well as sung.
However rude and simple the histrionic efforts of the children may be, they are doing two things for the actors. They are giving them a living interest in the various subjects that are dramatised; and, by teaching them to identify themselves, if only for a moment, with other human beings, they are leading them into the path of tolerance, of compassion, of charity, of sympathy, - the ever-widening path which makes at last for Nirvânic oneness with the One Life. (2)
(3) The Artistic Instinct.
The desire to reproduce with pencil, paint, or clay the form and colour of the outward world will, if duly cultivated, gradually transform itself into the desire to feel, to understand, to interpret, to express, not the form and colour only of the outward world, but also that less palpable but more spiritual quality which we call beauty. But in order that this transformation may take place, the child must always endeavour to reproduce with due fidelity the more palpable qualities of colour and form. In this endeavour he must bring many faculties into play. He must observe closely and attentively. He must reflect on what he observes. He must reflect on what he himself is doing. He must compare his work with the original, and try to discover how far he has succeeded, and where he has gone astray. The more faithfully he tries to reproduce what he has seen, the clearer and surer will be his insight into the less palpable properties of things, - into those details, those aspects, those qualities, which do not reveal themselves to the first careless glance, but which will gradually reveal themselves to those who will take the trouble to discover them. When he is asked to reproduce things which are intrinsically beautiful - flowers, branches, buds, shells, butterflies, and the like - he begins to realise that if his work is to be successful, he must do justice to many impalpable, though not imperceptible, details which go to the making up of beauty. So the sense of beauty, the feeling for it, the desire to bring it into his work, grows up in his heart; and a new kind of fidelity - fidelity to feeling rather than to fact (if I may speak for the moment in the delusive language of dualism) - begins to weave itself into his artistic consciousness.
If there is any school in England in which fidelity to feeling has evolved itself out of fidelity to fact, that school is in the village of Utopia. Some ten or twelve years ago a decree went out from Whitehall that Drawing was to be taught in all the elementary schools in England. Egeria at once took the children into her confidence, and said to them: "You have now got to learn to draw: you don't know how to draw, and I don't know how to draw, but we must all set to work and see what we can do". A few years later the school was visited by the inspector to whose zeal as a prophet, and skill as an expositor and teacher, the transformation in the teaching of drawing which is gradually taking effect in all parts of the country, has been largely due. Here is the report (3) that he wrote after his visit -
"In this school the teaching of Drawing reaches the highest educational level I have hitherto met with in our elementary schools, and the results are the genuine expression of the children's own thoughts. Flat copies are not used, and the scholars evolve their own technique, for the Head Teacher is not strong herself in this respect. The development of thought carries with it the development of skill, and this is clearly seen in the children's drawings, which show good form and proportion, some knowledge of light and shade, a delicate and refined perception of colour, and a wonderful power of dealing with the difficulties of foreshortening. The central law is self-effort, - confidence and self-reliance follow. The spontaneous activities of the children are duly recognised, and the latter decide what to draw, how to draw it, and the materials to be used. One cannot remain long in the school without observing the absence of that timidity, that haunting fear of making a mistake, which paralyses the minds and bodies of so many of our children. Under the influence of the Head Teacher the children become acute critics. Her methods coincide so exactly with those which I have long been advocating, that I give them in her own words -
"'I gave each child an ivy-leaf and said, "Now look well at it". We talked about its peculiarities, looking at it all the time, and then I told them to draw one, still looking back to the leaf from time to time. Then I examined their drawings. A good many were, of course, faulty. In those cases I did not say, "No, you are wrong; this is the way", and go to the blackboard. I said, "In such and such a part is yours the same as the leaf? What is different? How can you alter it?" etc., etc. I make them tell me their faults. There was no blackboard demonstration.'
"From a careful examination of their work it is clear that the children have not only been taught to draw, but that they love and enjoy their drawing. Form and colour are not only seen, but understood and felt. The children are impelled by an irresistible desire to reach and express the truth, and are thus carried along an ever-moving path of educative action ."
I have already spoken of the love of visible beauty which is a characteristic feature of the life of this school. It is in the drawing lesson that this love of beauty has in the main evolved itself. Other influences have no doubt been at work. Nature-study and literature, for example, have, as taught in this school, done much to foster the children's latent love of beauty; but had drawing never been taught, the influence of those subjects would have been much less effective than it has been. It is in the struggle to express what he perceives that the Utopian child has gradually strengthened and deepened his perceptive powers, till his sight has transformed itself into insight, and form and colour have come to be interpreted by him through the medium of the beauty which is behind them, - his feeling of beauty having, little by little, been awakened and evolved by his unceasing efforts to interpret the vraie vérité of form and colour, which, as he now begins to learn, are beauty's outward self.
(4) The Musical Instinct
In the development of the artistic sense the path of imitation is followed until it leads at last to heights which it cannot scale. The development of the musical sense takes from the first a widely different path. Nature has a beautiful music of her own, but the child seldom attempts to imitate this. Music belongs to the soul even more than to the outward world. So at least one feels disposed to think. But perhaps it is more correct to say that in the presence of music the provisional distinction between inward and outward, between the soul and the surrounding world, becomes wholly effaced. Expression is always the counterpart of perception; and we may rest assured that the deep, subtle, and elusive feelings to which music gives utterance have reality for their counterpart. The musician does not often reproduce in his compositions the audible sounds of the outward world, the voices of animals, the songs of birds, the rustle of leaves, the murmur of the sea, the sighing of the breeze, the thunder of the storm. What he does reproduce is the music that awakes in his soul when the emotions which these sounds kindle begin to struggle for expression, - the music that is behind all the audible sounds, and perhaps also behind all the inaudible vibrations of Nature, - the music that is in his heart because it is also at the heart of Nature, - the rhythm of the Universe, as one may perhaps call it for lack of a fitter phrase. It is the sense of this rhythm which inspires the great Composer when he builds up his masterpieces. It is the sense of this rhythm which inspires the child when, in the joy of his heart, he breaks spontaneously into dance and song. To bring the rhythm of the Universe into the daily life of the child, to give free play to his instinctive sense of its all-pervading presence, is one of the highest functions of the teacher. And the more carefully the sense of rhythm is cultivated, the more does it tend to spiritualise itself, and the more profound and more vital is the life which it struggles to interpret and evolve. There is no instinct which is so deeply seated as the musical. It is possible for a child, it is possible for a whole class of children, to sing out of the depths of the soul; and when this happens we may be sure that a fountain of spiritual joy has been unsealed, and that a great and sacred mystery has been unveiled. There is a school in one of the poorest slums of a large town, in which, some two or three years ago, the children were taught to sing, and the teachers to teach singing, by an inspired "master" who believes that to lift the sluices of spiritual feeling is to quicken into ever-increasing activity its hidden springs; and neither the teachers nor the children have yet forgotten their lesson. The children are poor, pale, thin, unkempt, ill-clad, unlovely; but I am told that when they sing their faces are transfigured, and they all become beautiful.
Egeria is an accomplished musician, and though Utopia belongs to one of the unmusical counties of England, she has found it easy to awaken the musical instinct in the hearts of its children. A few years ago she introduced the old English Folk Songs and Morris Dances into the school. The children took to them at once as ducklings take to the water; and within a year they were able to give an admirably successful performance of some two dozen songs and dances in the village hall. Some of these had been rehearsed only once; but the children, thanks to their having been systematically trained to educate themselves, are so versatile and resourceful that every item on their programme was a complete success. The Folk Songs and Morris Dances are still the delight of the children. They are ever adding to their repertory of songs; and when they go into the playground for recreation, they at once form into small groups for Morris Dancing, the older children taking the little ones in hand, and initiating them into the pleasures of rhythmical movement.
There is another way in which Egeria brings music into the lives of the children. In her own words, she "sets many of their lessons to music". For example, when they are doing needlework or drawing or any other quiet lesson, she plays high-class music to them, which forms a background to their efforts and their thoughts, and which gradually weaves itself, on the one hand into the outward and visible work that they are doing, and on the other hand into the mysterious tissue of their inward life.
(5) The Inquisitive Instinct.
As the inquisitive instinct makes the child an intolerable nuisance to his ignorant and indolent elders, it is but natural that in the unenlightened school, as in the unenlightened home, it should be forcibly exterminated. It is through the agency of the formula "Don't speak till you are spoken to", that its destruction is usually effected. But under Egeria's aegis conversation in school hours is, as we have seen, freely encouraged, and the child's right to ask questions fully recognised; and one may therefore conjecture that this proscribed and outlawed instinct will find a safe asylum in her school. Whatever lesson may be in progress, the Utopian children are allowed, and even expected, to seek for illumination whenever they find themselves in the dark, to pause inquiringly at every obstacle to their understanding what they have seen or heard or read.
The encouragement which is given in Utopia to the child who seeks to gratify his desire for knowledge, is positive as well as negative. When the obstacles which education usually places in his path have been removed, it is found that the whole atmosphere of the school is favourable to the growth of his inquisitive instinct. At every turn he is called upon to plan and contrive, and is thus made to realise his own limitations, and to try to escape from them. Whatever he may have in hand, - be it the preparation for acting a new scene, or the interpretation of a new Folk Song or Morris Dance, or the invention of a new school game, or the thinking out some new way of treating a "subject", - he is sure to find that knowledge is needed if he is to achieve success; and his desire for knowledge is therefore continually stimulated by the demands that his own initiative and activity are ever making upon him.
But it is in the "Nature lesson" that the inquisitive instinct finds in Utopia its freest scope and its fullest opportunity. To one who had persuaded himself of the innate stupidity of the average English child, a Nature lesson in Utopia would come as a revelation. He would learn for the first time that, far from being innately stupid, the average English child has it in him to reach a very high level of keenness, acuteness, and intellectual activity. Whenever a lesson is given on a natural object, e.g. a flower or a leaf, every child has a specimen and a lens. The object is then closely and carefully observed, in the hope of discovering features in it which might escape the unobservant. Whenever such features are discovered the children try to account for them. In these attempts they display much ingenuity and intelligence, and are led on by Egeria in the direction of the true explanation of each phenomenon, and the relation of this to what they know of the object as a whole, and of its meaning and function. The eagerness of the children to volunteer explanations of the facts that they observe is only equalled by the intelligence with which they grasp the general bearing of the problems that confront them, and the resourcefulness and quickness of wit with which they make repeated attempts to solve them.
And these are not the only qualities to which the Nature lesson gives free play. It is interesting to note that as on the one hand the inquisitive instinct is obviously near of kin to the communicative, so on the other hand it is ever tending to link itself to the artistic. The closeness of observation which is the basis of success in Nature-study, and by means of which the inquisitive instinct is fed and strengthened, is also the basis of success in drawing; and in each case it leads beyond itself into a region in which it has to be supplemented by, and even transfigured into, imagination, the faculty by means of which we observe what is at once impalpable and real. (4) And in that region the distinction between truth and beauty is ever tending to efface itself. The master sculptor is always an accomplished anatomist; and the genuine naturalist is a lover and admirer, as well as a student, of Nature. It has been well said that "to see things in their beauty is to see them in their truth"; and it is perhaps equally, though more remotely, true that to see things in their truth is to see them in their beauty. That being so, we need not wonder that among the Utopian children the love of what is beautiful in Nature has grown continuously with the growth of their interest in Nature-study, and that the inquisitive instinct is ever reinforcing and being reinforced by the artistic.
(6) The Constructive Instinct.
Active, intelligent, resourceful, self-helpful, the Utopian child takes to handwork of various kinds as readily and almost as spontaneously as the birds in spring-time take to the work of nest-building. It must indeed be admitted that the systematic instruction in Gardening, Cookery, and Woodwork which warrants the payment of special grants for these "subjects" is not given. But informal gardening, informal cookery, and informal woodwork are vital features of the school life. Nor are the children's essays in handwork limited to these subjects. Whatever implement, instrument, or other contrivance may be needed in order to illustrate or otherwise help forward the general work of the school will be made by the children, so far as their technical ability and the resources of the school permit. For example, they will make fences, seats, frames, and sheds for their gardens, and "properties" and dresses for their dramatic performances. They will illustrate their games and lessons by means of simple modelling and paper-cutting. The older girls will dress dolls for the little ones to their own fancy, using their own discretion as regards material, style of dress, and method of dress-making. And so on.
But ready as the Utopian children are to use their hands, and clever as they are at using them, it is not through manual activity only that the development of their constructive instinct is carried on. One of the characteristic features of the school is the largeness of the scale on which the constructive powers of the children are encouraged to energise, and the frequency and variety of the demands that are made upon them. The Utopian child is expected to educate himself, not merely in the sense of doing by and for himself whatever task may be set him, but also in the sense of devising new tasks for himself, in thinking out new ways of treating the different subjects that appear on the school time-table, in taking thought for the whole scheme of his education. As the years go by, Egeria makes more and greater demands on the initiative and the intelligence of the children, her aim being apparently to transform the school by slow degrees into a self-governing community which, under her presidency, shall order its own life and work out its own salvation. This means, as I have lately pointed out, that at every turn the Utopian child is being called upon to plan and contrive; and this, again, means that his constructive instinct, with his inquisitive instinct as its other self, is being continually exercised on the widest possible field and under the most stimulating of all influences. The result of this is that reciprocal action is ever going on in his mind between the faculties that acquire knowledge and the faculties that apply it, - action which makes for the rapid and healthy growth of both sets of faculties, and which is therefore ever tending to strengthen the child's capacity for thinking and to raise the plane of its activity.
What is the culture of the child's expansive instincts likely to do for him?
I will weave into my answer to this question my knowledge of what has been done and is being done in Utopia.
It is through the medium of his own exertions that the evolution of the child's instincts is carried on by Egeria. It may be possible to lay veneers of information on the surface of a child's mind, but it is not possible to lay on veneers of growth; and growth, not information, is the end at which Egeria has always aimed. If a child is to grow, he must exercise his own limbs, his own organs, his own faculties. No one else can do this for him; and unless he does it himself, it will never be done.
The school life in Utopia is therefore one of constant activity. The habit of doing things, of doing things for himself, of doing things by himself, is gradually built up in each child. There is no forced inertness in Utopia, no slackness, no boredom, no yawning. And the activity which is characteristic of the school is always the child's own activity. The child himself is behind everything that he does. The child himself is expressing himself in his every action. Mechanical activity, the doing of things, not merely at the bidding of another, but also under his minutely detailed direction, is as foreign to the genius of the school as is the passivity of the helpless victims of the unenlightened teacher's "chalk and talk".
The first consequence, then, of the training of the expansive instincts which is given in Utopia is the building up in each scholar of what I may call the habit of rational activity. In many schools the energies of the child are systematically dammed back, till at last the springs of his activity, finding that no demand is made upon them, cease to flow. In Utopia the sluices, though always regulated, are permanently lifted, and the energies of the child are ever moving, with a strong and steady current, in whatever channel they may have chanced to enter. So strong, indeed, and so steady is the current that it maintains its movement long after the child has left school. The employers of labour in the neighbourhood of Utopia will tell you that there are no slackers or loafers in the yearly output of the school. Egeria recently received a visit from one of her ex-pupils, a girl of fourteen who is at home keeping house for her father, and who said to her in the course of their conversation: "I do just love washing days; I get up before six and start. Then, when all the washing is done, I scrub everything bright in the copper while I have the hot soapsuds". Accustomed as he (or she) is from his (or her) earliest days to sincere and fearless self-expression, the Utopian child is entirely incapable of indulging in cant; and the genuineness of the sentiment which dictated those words is therefore above suspicion. To work vigorously, to do well whatever he (or she) has to do, is a real pleasure to the Utopian child. Indeed his whole being is a living response to the familiar precept: "Whatsoever thy hand findeth to do, do it with thy might." [Ecclesiastes 9:10]
And what he does with his might is always well worth doing. His constant effort to express himself has, as its necessary counterpart, a constant effort to find out what is worth expressing, to get to the truth of things, to see things as they are. The consequent growth of his perceptive powers may be looked at from two points of view. On the one hand his growing capacity for getting on terms with things - for feeling his way among them, for "getting the hang" of them, for making himself at home with them, for learning their ins and outs, for understanding their ways and works - will give him the power of putting forth an appropriate sense in response to the demands of each new environment, and, through the medium of this sense, of converting information into knowledge. For this reason new "subjects" have no terror for Egeria and her pupils. Though she has never thought in subjects, she is ready to extend her curriculum in any direction in which she thinks that her children are likely to find interest or profit. The versatility, the mental agility, of the children is as remarkable as their activity. The current of their energy is ready to adapt itself to every modifying influence, to every change of geological formation, that it may encounter in its course, and to shape its channel or channels accordingly.
On the other hand, as healthy vigorous growth is always upward (and downward) as well as outward, the lateral extension of the child's perceptive powers must needs be balanced in Utopia by the gradual elevation of his standpoint, with a corresponding widening of his outlook, and the proportionate deepening of his insight. When the school life of the child is one of continuous self-expression, opportunities for "putting his soul" into what he says and does will often present themselves to him; and if only a few of these are made use of, his outlook on life will widen, and his imaginative sympathy with life will deepen, to an extent which to one who had never visited Utopia might well seem incredible. I have spoken of the Utopian child's love of the beautiful. This is one aspect of the spiritual growth that he is always making. Other aspects of it are his strong sympathy with life in all its forms, and a certain large and free way of looking at things, which, as far as my experience of school children goes, is all his own.
There is yet another aspect of his spiritual growth which is perhaps the most vital and the most typical of all. When we say that the child is growing both laterally and vertically (like a shapely tree), we mean that he is growing as a whole, as a living soul. Now the growth of the soul as such must needs take the form of outgrowth, of escape from "self". Growth is, in its essence, an emancipative process; and though it sometimes intensifies selfishness and widens the sphere of its activity, that is invariably due to its being one-sided and therefore inharmonious and unhealthy. When the child or the man is growing as a living whole, with a happy, harmonious, many-sided growth, his growth is of necessity outgrowth, and he must needs be escaping from the thraldom of his lower and lesser self. This conclusion is no mere inference from accepted or postulated premises. What I have seen in Utopia has forced it upon me. The unselfishness, the natural, easy, spontaneous self-forgetfulness, of the Utopian child, is the central feature of his moral life, - so marked and withal so unique a feature that its presence proves to demonstration, first, that growth of the right sort is necessarily emancipative, and, next, that the growth made in Utopia is growth of the right sort. I have already commented on the singular charm of manner which distinguishes the children of Utopia. Their self-forgetfulness, their entire lack of self-consciousness, is one source of this charm. The tactfulness which their life of self-expression, and therefore of trained perception, tends to engender, is another. But the moral aspect of Utopianism is one of such surpassing interest, and also of such profound significance from the point of view of my fundamental "truism", that I must limit myself for the moment to this passing reference to it, and reserve it for fuller treatment in the remaining chapters.
I could easily make a long list of Utopian virtues and graces, but I must content myself with touching on one more typical product of Egeria's philosophy of education, - the joy which the children wear in their faces and bear in their hearts. The sense of well-being which must needs accompany healthy and harmonious growth is realised by him who experiences it as joy. The Utopian children are by many degrees the happiest that I have met with in an elementary school, and I must therefore conclude that all is well with them, that their well-being - the true end of all education - has been, and is being, achieved. If you look at any of them with more than a mere passing glance, you will be sure to win from him the quick response of a sunny smile, - a smile which is half gladness, half goodwill. And the joy of their hearts goes with them when their schooldays are over and they begin to work for their bread. Last year one of the boys, on leaving school, found employment in a large field on the lower slopes of the hills, where he had to collect flints and pile them in heaps, his wage for this dull and tiresome work being no more than fivepence a day. But he found the work neither dull nor tiresome; for as he marched up and down the field, collecting and piling the flints with cheery goodwill, he sang his Folk Songs with all the spontaneous happiness of a soaring lark.
Activity, versatility, imaginative sympathy, a wide and free outlook, self-forgetfulness, charm of manner, joy of heart, - these are qualities which might be expected to unfold themselves under the influence of the Utopian training, and which do, in point of fact, flourish vigorously in the soil and atmosphere of Utopia. They are the outcome of a type of education which differs radically from that which has hitherto been accepted as orthodox, - differing from it with the unfathomable difference between vital and mechanical obedience, between life and machinery.
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Notes:
i. Wordsworth Ode to Duty.
ii. In Greek, 'maeutic' refers to midwifery.
(1) The child is struggling to do this, and more than this. The search for order resolves itself into the search for cause; and the search for cause will resolve itself, in the last resort, into the greatest of all adventures, - the search for that pure essence of things on which all the deeper desires of the soul converge, which imagination dreams of as absolute beauty, and reason as a beacon-lamp of all-illuminating light, flashing forth alternately as absolute reality and absolute truth.
(2) I shall perhaps be told that my extravagant idealism is out of place in a book on elementary education. To this possible reproach I can but answer, in Mrs. Browning's words, that -
It takes the ideal to blow a hair's breadth off
The dust of the actual.
[Elizabeth Barrett Browning Aurora Leigh 1857]
My experience of Utopia has convinced me that in taking thought for the education of the young it is impossible to be too idealistic, and that the more "commonsensical" and "utilitarian" one's philosophy of education, the shallower and falser it will prove to be.
(3) An informal report to me, not a formal report to the Board of Education.
(4) Real, in the sense that the beauty of form and colour is more real than either form or colour, and that a law of Nature is more real than an isolated fact.