Part 9 (1/2)

Shakespeare thus appeals to theofup and down, He raised a sigh so piteous and profound As it did see

Many passages like the following appeal to the tees:

Freeze, freeze, thou bitter sky, Thou dost not bite so nigh As benefits forgot!

To one whose auditory i of their beauty:

Hoeet the ht sleeps upon this bank!

Here ill sit and let the sounds of ht Become the touches of sweet har's words:

Are there not two ar he prepares to plunge, and one, when a prince he rises with his pearl?

POINTS WHERE IMAGES ARE OF GREATEST SERVICE--Beyond question,into ourNo one has failed to note many such Further, we undoubtedly do es present Yet we need ies are needed wherever the percepts which they represent would be of service_ Whatever one could better understand or enjoy or appreciate by seeing it, hearing it, or perceiving it through some other sense, he can better understand, enjoy or appreciate through ies than by means of ideas only

5 THE CULTIVATION OF IMAGERY

IMAGES DEPEND ON SENSORY STIMULI--The power of i can be cultivated the same as any other ability

In the first place, we may put down as an absolute requisite _such an environment of sensory stimuli as will tempt every sense to be awake and at its best_, that we e acquaintance with the objects of our reater than the sues of sights, or sounds, or tastes, or smells which he has never experienced

Likewise, he must have had the fullest and freest possible liberty in motor activities For not only is the ery, but the es The boy who has actually made a table, or a desk, or a box has ever afterward a different and a better ie of one of these objects than before; so also when he has owned and ridden a bicycle, his inificance froe founded upon the visual perception alone of the wheel he longingly looked at through the storeor in the other boy's dooryard

THE INFLUENCE OF FREQUENT RECALL--But sensory experiences and h they are the basis of good iery _There must be frequent recall_ The sunset may have been never so brilliant, and the ht of and dwelt upon after they were first experienced, little will re theery that they beco e need next to use them

THE RECONSTRUCTION OF OUR IMAGES--To richness of experience and frequency of the recall of our ies we must add oneover Few if any ies are exact recalls of former percepts of objects Indeed, such would be neither possible nor desirable The ies which we recall are recalled for a purpose, or in view of some future activity, and hence must be _selective_, or es

Thus the boy ishes to construct a box without a pattern to follow recalls the ies of numerous boxes he e es, and this new iets a copy which he can follow to make his box, but he also secures a new product in the fore different from any he ever had before, and is therefore by soover of our stock of old iestive ones that constitutes the essence of constructive iery into which we can put our thought, thelesson needs not only to be taken in through the eye, that we e of the words, but also to be recited orally, so that the ear ans of speech a e of the correct foriven into the keeping of the hand, which finally needslesson should be taken in through both the eye and the ear, and then expressed by esture in as full and complete a way as possible, that it raphy lesson needs not only to be read, but to be drawn, or molded, or constructed The history lesson should be ery The arithhed, and pressed into actual service

Thus we ht carry the illustration into every line of education and experience, and the same truth holds _What we desire to coh all available senses and conserve in every possible type of ie and form of expression_

6 PROBLEMS IN INTROSPECTION AND OBSERVATION

1 Observe a reading class and try to determine whether the pupils picture the scenes and events they read about How can you tell?

2 Similarly observe a history class Do the pupils realize the events as actually happening, and the personages as real, living people?

3 Observe in a siraphy, and draw conclusions

A pupil in coures on the rooery have saved the error?

4 Iine a three-inch cube Paint it Then saw it up into inch cubes, leaving theinal form How many inch cubes have paint on three faces? How many on two faces? How many on one face? How many have no paint on theery alone