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Mind And Its Education

<h2>CHAPTER XVIII</h2> <h3>SELF-EXPRESSION AND DEVELOPMENT</h3> We have already seen that the mind and the body are associated in a copartnership in which each is an indispensable and active member. We have seen that the body gets its dignity and worth from its relation with the mind, and that the mind is dependent on the body for the crude material of its thought, and also for the carrying out of its mandates in securing adaptation to our environment. We have seen as a corollary of these facts that the efficiency of both mind and body is conditioned by the manner in which each carries out its share of the mutual activities. Let us see something more of this interrelation. <h4>1. INTER-RELATION OF IMPRESSION AND EXPRESSION</h4> No impression without corresponding expression has become a maxim in both physiology and psychology. Inner life implies self-expression in external activities. The stream of impressions pouring in upon us hourly from our environment must have means of expression if development is to follow. We cannot be passive recipients, but must be active participants in the educational process. We must not only be able to know and feel, but to do. <div class='figcenter' style='padding-top: 1em; padding-bottom: 1em'> <ANTIMG src='images/f020-tn.jpg' width-obs="400" height-obs="232" alt='Fig. 20' title='' /> Fig. 20</div> The Many Sources of Impressions.—The nature of the impressions w come to us and how they all lead on toward ultimate expression is shown in the accompanying diagram (Fig. 20). Our material environment is thrusting impressions upon us every moment of our life; also, the material objects with which we deal have become so saturated with social values that each comes to us with a double significance, and what an object means often stands for more than what it is. From the lives of people with whom we daily mingle; from the wider circle whose lives do not immediately touch ours, but who are interpreted to us by the press, by history and literature; from the social institutions into which have gone the lives of millions, and of which our lives form a part, there come to us constantly a flood of impressions whose influence cannot be measured. So likewise with religious impressions. God is all about us and within us. He speaks to us from every nook and corner of nature, and communes with us through the still small voice from within, if we will but listen. The Bible, religious instruction, and the lives of good people are other sources of religious impressions constantly tending to mold our lives. The beautiful in nature, art, and human conduct constantly appeals to us in æssthetic impressions. All Impressions Lead toward Expression.—Each of these groups of impressions may be subdivided and extended into an almost indefinite number and variety, the different groups meeting and overlapping, it is true, yet each preserving reasonably distinct characteristics. A common characteristic of them all, as shown in the diagram, is that they all point toward expression. The varieties of light, color, form, and distance which we get through vision are not merely that we may know these phenomena of nature, but that, knowing them, we may use the knowledge in making proper responses to our environment. Our power to know human sympathy and love through our social impressions are not merely that we may feel these emotions, but that, feeling them, we may act in response to them. It is impossible to classify logically in any simple scheme all the possible forms of expression. The diagram will serve, however, to call attention to some of the chief modes of bodily expression, and also to the results of the bodily expressions in the arts and vocations. Here again the process of subdivision and extension can be carried out indefinitely. The laugh can be made to tell many different stories. Crying may express bitter sorrow or uncontrollable joy. Vocal speech may be carried on in a thousand tongues. Dramatic action may be made to portray the whole range of human feelings. Plays and games are wide enough in their scope to satisfy the demands of all ages and every people. The handicrafts cover so wide a range that the material progress of civilization can be classed under them, and indeed without their development the arts and vocations would be impossible. Architecture, sculpture, painting, music, and literature have a thousand possibilities both in technique and content. Likewise the modes of society, conduct, and religion are unlimited in their forms of expression. Limitations of Expression.—While it is more blessed to give than to receive, it is somewhat harder in the doing; for more of the self is, after all, involved in expression than in impression. Expression needs to be cultivated as an art; for who can express all he thinks, or feels, or conceives? Who can do his innermost self justice when he attempts to express it in language, in music, or in marble? The painter answers when praised for his work, "If you could but see the picture I intended to paint!" The pupil says, "I know, but I cannot tell." The friend says, "I wish I could tell you how sorry I am." The actor complains, "If I could only portray the passion as I feel it, I could bring all the world to my feet!" The body, being of grosser structure than the mind, must always lag somewhat behind in expressing the mind's states; yet, so perfect is the harmony between the two, that with a body well trained to respond to the mind's needs, comparatively little of the spiritual need be lost in its expression through the material. <h4>2. THE PLACE OF EXPRESSION IN DEVELOPMENT</h4> Nor are we to think that cultivation of expression results in better power of expression alone, or that lack of cultivation results only in decreased power of expression. Intellectual Value of Expression.—There is a distinct mental value in expression. An idea always assumes new clearness and wider relations when it is expressed. Michael Angelo, making his plans for the great cathedral, found his first concept of the structure expanding and growing more beautiful as he developed his plans. The sculptor, beginning to model the statue after the image which he has in his mind, finds the image growing and becoming more expressive and beautiful as the clay is molded and formed. The writer finds the scope and worth of his book growing as he proceeds with the writing. The student, beginning doubtfully on his construction in geometry, finds the truth growing clearer as he proceeds. The child with a dim and hazy notion of the meaning of the story in history or literature discovers that the meaning grows clear as he himself works out its expression in speech, in the handicrafts, or in dramatic representation. So we may apply the test to any realm of thought whatever, and the law holds good: It is not in its apprehension, but in its expression, that a truth finally becomes assimilated to our body of usable knowledge. And this means that in all training of the body through its motor expression we are to remember that the mind must be behind the act; that the intellect must guide the hand; that the object is not to make skillful fingers alone, but to develop clear and intelligent thought as well. Moral Value of Expression.—Expression also has a distinct moral value. There are many more people of good intentions than of moral character in the world. The rugged proverb tells us that the road to hell is paved with good intentions. And how easy it is to form good resolutions. Who of us has not, after some moral struggle, said, "I will break the bonds of this habit: I will enter upon that heroic line of action!" and then, satisfied for the time with having made the resolution, continued in the old path, until we were surprised later to find that we had never got beyond the resolution. It is not in the moment of the resolve but in the moment when the resolve is carried out in action that the moral value inheres. To take a stand on a question of right and wrong means more than to show one's allegiance to the right—it clears one's own moral vision and gives him command of himself. Expression is, finally, the only true test for our morality. Lacking moral expression, we may stand in the class of those who are merely good, but we can never enter the class of those who are good for something. One cannot but wonder what would happen if all the people in the world who are morally right should give expression to their moral sentiments, not in words alone, but in deeds. Surely the millennium would speedily come, not only among the nations, but in the lives of men. Religious Value of Expression.—True religious experience demands expression. The older conception of a religious life was to escape from the world and live a life of communion and contemplation in some secluded spot, ignoring the world thirsting without. Later religious teaching, however, recognized the fact that religion cannot consist in drinking in blessings alone, no matter how ecstatic the feeling which may accompany the process; that it is not the receiving, but this along with the giving that enriches the life. To give the cup of cold water, to visit the widow and the fatherless, to comfort and help the needy and forlorn—this is not only scriptural but it is psychological. Only as religious feeling goes out into religious expression, can we have a normal religious experience. Social Value of Expression.—The criterion of an education once was, how much does he know? The world did not expect an educated man to do anything; he was to be put on a pedestal and admired from a distance. But this criterion is now obsolete. Society cares little how much we know if it does not enable us to do. People no longer admire mere knowledge, but insist that the man of education shall put his shoulder to the wheel and lend a hand wherever help is needed. Education is no longer to set men apart from their fellows, but to make them more efficient comrades and helpers in the world's work. Not the man who knows chemistry and botany, but he who can use this knowledge to make two blades of grass grow where but one grew before, is the true benefactor of his race. In short, the world demands services returned for opportunities afforded; it expects social expression to result from education. And this is also best for the individual, for only through social service can we attain to a full realization of the social values in our environment. Only thus can we enter fully into the social heritage of the ages which we receive from books and institutions; only thus can we come into the truest and best relations with humanity in a common brotherhood; only thus can we live the broader and more significant life, and come to realize the largest possible social self. <h4>3. EDUCATIONAL USE OF EXPRESSION</h4> The educational significance of the truths illustrated in the diagram and the discussion has been somewhat slow in taking hold in our schools. This has been due not alone to the slowness of the educational world to grasp a new idea, but also to the practical difficulties connected with adapting the school exercises as well to the expression side of education as to the impression. From the fall of Athens on down to the time of Froebel the schools were constituted on the theory that pupils were to receive education; that they were to drink in knowledge, that their minds were to be stored with facts. Children were to "be seen and not heard." Education was largely a process of gorging the memory with information. Easier to Provide for the Impression Side of Education.—Now it is evident that it is far easier to provide for the passive side of education than for the active side. All that is needed in the former case is to have teachers and books reasonably full of information, and pupils sufficiently docile to receive it. But in the latter case, the equipment must be more extensive. If the child is to be allowed to carry out his impressions into action, if he is actually to do something himself, then he must be supplied with adequate equipment. So far as the home life was concerned, the child of several generations ago was at a decided advantage over the child of today on the expression side of his education. The homes of that day were beehives of industry, in which a dozen handicrafts were taught and practiced. The buildings, the farm implements, and most of the furniture of the home were made from the native timber. The material for the clothing of the family was produced on the farm, made into cloth, and finally into garments in the home. Nearly all the supplies for the table came likewise from the farm. These industries demanded the combined efforts of the family, and each child did his or her part. But that day is past. One-half of our people live in cities and towns, and even in the village and on the farm the handicrafts of the home have been relegated to the factory, and everything comes into the home ready for use. The telephone, the mail carrier, and the deliveryman do all the errands even, and the child in the home is deprived of responsibility and of nearly all opportunity for manual expression. This is no one's fault, for it is just one phase of a great industrial readjustment in society. Yet the fact remains that the home has lost an important element in education, which the school must supply if we are not to be the losers educationally by the change. The School to Take Up the Handicrafts.—And modern educational method is insisting precisely on this point. A few years ago the boy caught whittling in school was a fit subject for a flogging; the boy is today given bench and tools, and is instructed in their use. Then the child was punished for drawing pictures; now we are using drawing as one of the best modes of expression. Then instruction in singing was intrusted to an occasional evening class, which only the older children could attend, and which was taught by some itinerant singing master; today we make music one of our most valuable school exercises. Then all play time was so much time wasted; now we recognize play as a necessary and valuable mode of expression and development. Then dramatic representation was confined to the occasional exhibition or evening entertainment; now it has become a recognized part of our school work. Then it was a crime for pupils to communicate with each other in school; now a part of the school work is planned so that pupils work in groups, and thus receive social training. Then our schoolrooms were destitute of every vestige of beauty; today many of them are artistic and beautiful. This statement of the case is rather over-optimistic if applied to our whole school system, however. For there are still many schools in which all forms of handicraft are unknown, and in which the only training in artistic expression is that which comes from caricaturing the teacher. Singing is still an unknown art to many teachers. The play instinct is yet looked upon with suspicion and distrust in some quarters. A large number of our schoolrooms are as barren and ugly today as ever, and contain an atmosphere as stifling to all forms of natural expression. We can only comfort ourselves with Holmes's maxim, that it matters not so much where we stand as in what direction we are moving. And we certainly are moving toward a larger development and greater efficiency in expression on the part of those who pass through our schools. Expression and Character.—Finally, all that has been said in this discussion has direct reference to what we call character—that mysterious something which we so often hear eulogized and so seldom analyzed. Character has two distinct phases, which may be called the subjective phase and the social phase; or, stating it differently, character is both what we are and what we do. The first of these has to do with the nature of the real, innermost self; and the last, with the modes in which this self finds expression. And it is fair to say that those about us are concerned with what we are chiefly from its relation to what we do. Character is not a thing, but a process; it is the succession of our thoughts and acts from hour to hour. It is not something which we can hoard and protect and polish unto a more perfect day, but it is the everyday self in the process of living. And the only way in which it can be made or marred is through the nature of this stream of thoughts and acts which constitute the day's life—is through being or doing well or ill. Two Lines of Development.—The cultivation of character must, then, ignore neither of these two lines. To neglect the first is to forget that it is out of the abundance of the heart that the mouth speaks; that a corrupt tree cannot bring forth good fruit; that the act is the true index of the soul. To omit the second is to leave the character half formed, the will weak, and the life inefficient and barren of results. The mind must be supplied with noble ideas and high ideals, with right emotions and worthy ambitions. On the other hand, the proper connection must be established between these mental states and appropriate acts. And the acts must finally grow into habits, so that we naturally and inevitably translate our ideas and ideals, our emotions and ambitions into deeds. Our character must be strong not in thought and feeling alone, but also in the power to return to the world its finished product in the form of service. <h4>4. PROBLEMS IN INTROSPECTION AND OBSERVATION</h4> 1. Do you find that you understand better some difficult point or problem after you have succeeded in stating it? Do you remember better what you have expressed? 2. In which particular ones of your studies do you think you could have done better if you had been given more opportunity for expression? Explain the psychology of the maxim, we learn to do by doing. 3. Observe various schools at work for the purpose of determining whether opportunities for expression in the recitations are adequate. Have you ever seen a class when listless from listening liven up when they were given something to do themselves? 4. Make a study of the types of laughter you hear. Why is some laughter much more pleasant than other laughter? What did a noted sculptor mean when he said that a smile at the eyes cannot be depended upon as can one at the mouth? 5. What examples have you observed in children's plays showing their love for dramatic representation? What handicrafts are the most suitable for children of primary grades? for the grammar school? for the high school? 6. Do you number those among your acquaintance who seem bright enough, so far as learning is concerned, but who cannot get anything accomplished? Is the trouble on the expression side of their character? What are you doing about your own powers of expression? Are you seeking to cultivate expression in new lines? Is there danger in attempting too many lines? <hr class='major' /> <div style="break-after:column;"></div>

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