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Stoddard (search for this): chapter 14
dropped. He likes to know that there is a tie between him and each of these possessions, though he is willing, it must be owned, to leave the daily care of each in more familiar hands. But even if he only hated the sight of his old textbooks, what would it prove? Not that he was unfit for their study, or the study for him, but that either book or teacher was inadequate. It is not the child's fault if all this region of delight be haunted by ogres called grammarians. Where Andrews and Stoddard enter, it is inevitable that all joys should flee; but why, we are now beginning to ask, should those extremely prosaic gentlemen come in at all? Accuracy is desirable, and doubtless a child should learn grammar, but the terrible book which this academical firm prepared was not a grammar; it was an encyclopedia of philology in small print. It is something to the praise of classical studies that even those two well-meaning men did not extinguish these pursuits forever. It is not to be imp
John Eliot (search for this): chapter 14
e belle application partielle de l'esprit humain; mais les lettres, c'est l'esprit humain lui-meme; c'est laeducation de laame. But since the natural preferences of children should be followed in all training, not set at defiance, it is unnecessary and unwise to impose the same order of precedence upon all minds. There is really a good deal of time in childhood; even young Americans do not mature so instantaneously but that you can teach them something before the process is complete. President Eliot says, There have been many good college students who have learned in two years all the Greek and Latin required for admission into Harvard College. I am satisfied, from observation and experiment, that, it is perfectly practicable so to bring up an average boy that he shall be a good rider, swimmer, and sailor,--shall be a keen field-naturalist,--shall know the use of tools,shall speak French and German,--shall have the rudiments of music or of drawing,--and still shall be fairly fit
Huxley (search for this): chapter 14
etic, insular style, as if each dwelt on an island, and hailed his neighbor each morning in good chest tones, to tell him the news. It is the farthest possible from the style of a poet or an artist, but it is the style of that ideal man for whom Huxley longs, whose intellect is a clear, cold logic engine, with all its parts of equal strength and in smooth working order, ready, like a steam-engine, to be turned to all kinds of work. In Huxley himself this type of writing is seen at the greatestHuxley himself this type of writing is seen at the greatest advantage; Froude and Seeley have much the same; and books like the Essays on a liberal education, put together by a dozen different Oxford and Cambridge men, exhibit but one style,--a style that goes straight to the mark and will stand no nonsense. It is all very well, so far, and this is doubtless better than carving the bow till it breaks, as in Aesop's fable; but is there not room in the world for both science and art, use and beauty? If a page is good that tells truth plainly, may not an
Ollendorff (search for this): chapter 14
ot therefore try him with the desert of Sahara. When I was at school, the path did not lead through the desert; but had it done so, this old text-book would have been an oasis. Yet it may plausibly be said that what charms the child, after all, is the grace of the phrase, and that even if a collection of good English sentences would not answer as well (because he is not forced to dwell on them for the purpose of translation), yet some German or French phrase-book, provided it were not Ollendorff, might serve the purpose. I should be the last person to deny the magic that may also dwell, for young people, in a book like Miss Austen's Selections from German prose writers, which at a later period I almost learned by heart. But however we may define the words classic and romantic, it will be found, I think, however contrary to the impression of many, that the child is naturally a classicist first. Emerson said well, Every healthy boy is a Greek ; while his powers are dawning and he
Jacob Bigelow (search for this): chapter 14
in the Arabian Nights. The epoch of vague dreams will come later; up to the age of thirteen he is a Roman or a Greek. I must honestly say that much of the modern outcry against classical studies seems to me to be (as in the case of good Dr. Jacob Bigelow) a frank hostility to literature itself, as the supposed rival of science; or a willingness (as in Professor Atkinson's case) to tolerate modern literature, while discouraging the study of the ancient. Both seem to commit the error of drawgant imbecility of classical learning. We can spare the Louvre and the Vatican, we can spare Paestum and the Pyramids, as easily as we can spare the purely literary culture from the world. And while watching the seeming death-throes of the one nation on earth which still recognizes literature as a branch of art, we need surely to make some effort to preserve the tradition of the beautiful, lest it vanish from the realm of words. Cambridge: Electrotyped and Printed by Welch, Bigelow, & Co.
John Keats (search for this): chapter 14
s the Latin programmes on Commencement day, or the Latin triennial Catalogues; but I mean such actual delights in the study of language as my old text-book gave. It seems almost needless to say that the best training for one who is to create beauty must be to accustom him to the study of that which is beautiful; his taste once formed, let him originate what he can. If this can be done by modern models as well as by ancient, let it be done; it is the literary culture, as such, that we need. Keats, who said of himself, I dote on fine phrases like a lover, was as truly engaged in literary training as if he had been making Latin verses at Oxford; very likely more so; but, at any rate, it was not science that he studied. It is for literature, after all, that I plead; not for this or that body of literature. Welcoming science, I only deprecate the exclusive adoption of the scientific style. There prevailed for a long time, in America, a certain superstition about collegiate education
Boccaccio (search for this): chapter 14
child;--it was the veiled half-revelation of these things that made that old textbook forever fragrant to me. There are in it the still visible traces of wild flowers which I used to press between the pages, on the way to school; but it was the pressed flowers of Latin poetry that were embalmed there first. These are blossoms that do not fade. Horace was right in his fond imagination, and his monument has proved more permanent than any bronze, aere perennius. Wonderful is it to me, says Boccaccio, in Landor's delicious Pentameron, when I consider that an infirm and helpless creature, such as I am, should be capable of laying thoughts up in their cabinet of words, which Time, as he moves by, with the revolutions of stormy and eventful years, can never move from their places. One must bear in mind the tendencies of the time. If the danger were impending of an age of mere literary conceits, every one should doubtless contend against it; for what is the use of polished weapons, whe
Landor (search for this): chapter 14
was the veiled half-revelation of these things that made that old textbook forever fragrant to me. There are in it the still visible traces of wild flowers which I used to press between the pages, on the way to school; but it was the pressed flowers of Latin poetry that were embalmed there first. These are blossoms that do not fade. Horace was right in his fond imagination, and his monument has proved more permanent than any bronze, aere perennius. Wonderful is it to me, says Boccaccio, in Landor's delicious Pentameron, when I consider that an infirm and helpless creature, such as I am, should be capable of laying thoughts up in their cabinet of words, which Time, as he moves by, with the revolutions of stormy and eventful years, can never move from their places. One must bear in mind the tendencies of the time. If the danger were impending of an age of mere literary conceits, every one should doubtless contend against it; for what is the use of polished weapons, where there is n
Thersites (search for this): chapter 14
. Because nine tenths of the English school-boys are addled, according to Mr. Farrar, by being overworked in Latin verse-making, must we transfer the same imputation to colleges which never burdened the conscience of a pupil with a single metrical line? Because the House of Commons was once said to care more for a false quantity in Latin verse than in English morals, shall we visit equal indignation on a House of Representatives that had to send for a classical dictionary to find out who Thersites was? Since all the leading modern languages and the chief branches of natural science have been sedulously taught in our American colleges for a quarter of a century, why keep discoursing on the omissions of Oxford and Cambridge? Have we then no sins of our own, that we must torture ourselves in vicarious penance for the whole of Europe? Granted, that foreign systems of education may err by insisting on the arts of literary structure too much; think what we should lose by dwelling on
Paestum (Italy) (search for this): chapter 14
me is simply this: that while we make children happy by teaching them the careful observation of nature,--so that our educated men need no longer be naturalists by accident, as Professor Owen said of those in England,--we yet should give to the same children another happiness still, by such first glimpses of literary pleasure as this book afforded. A race of exclusively scientific men and women would be as great an evil as would be a race trained only in what Sydney Smith calls the safe and elegant imbecility of classical learning. We can spare the Louvre and the Vatican, we can spare Paestum and the Pyramids, as easily as we can spare the purely literary culture from the world. And while watching the seeming death-throes of the one nation on earth which still recognizes literature as a branch of art, we need surely to make some effort to preserve the tradition of the beautiful, lest it vanish from the realm of words. Cambridge: Electrotyped and Printed by Welch, Bigelow, & Co.
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