=Human interest.=—And wherever she is, there is humanity. There are no dry bones in her work, for she invests every subject with human interest and causes it to pulsate in the consciousness of her pupils. If there are dry bones when she arrives, she has but to touch them with the magic of her humanity, and they become things of life. Whether long division or calculus, it is to her a part of the living, palpitating truth of the world, and she causes it to live before the minds of the pupils. The so-called dead languages spring to life in her presence, and, like Aaron’s rod, blossom and bring forth at her touch. Wherever she walks there are resurrections because life begets life. No science, no mathematics, no history, no language, can be dull or dry when touched by her art, but all become vital because she is vital. By the subtle alchemy of her artistic teaching all the subjects of her school are transmuted into the pure gold of truth and beauty.
QUESTIONS AND EXERCISES
1. What kinds of arts are there other than the fine arts?
2. How do the motives of the artisan differ from those of the artist?
3. What are some of the characteristics that gain one the distinction of being an “artist” teacher?
4. Show that to enjoy respect is more worth while than to attract admiration.
5. Under what conditions can one have joy in his work? Can one do his best without it?
6. What is the result on one’s work of brooding over troubles?
7. Henry Ford employs trained sociologists who see that the home relations of his employees are satisfactory. Why?
8. Is one who reads good literature to acquire culture as yet an “artist” teacher?
9. What constitutes character?
10. What is the inference concerning one’s culture if his clothes and body are not clean? If his property at the school is not in order?
11. How can one add to his culture? Is what one knows or what one does the more important part of it? Has a high degree of culture been attained by a person who must ever be on his guard?
12. Is feeling an important element of culture? Illustrate.
13. What is the teacher’s chief reward?
14. Can a teacher lead pupils to regard work as a privilege rather than as a task, unless she has that attitude herself?
15. In what respects do you regard teaching as a privilege? In what respects is it drudgery to you?
16. Can enthusiasm result if there is a lack of joy in one’s work? If there is a deficiency of physical strength? If there is a poor knowledge of the subject?
17. What causes historical facts to seem commonplace?
18. What elements should be emphasized in history to make it seem alive with meaning?
19. What principle of the drama comes into play in teaching, when a teacher desires to invest the subject with life?