Part 22 (2/2)

But that day is past One-half of our people live in cities and towns, and even in the village and on the farated 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--Andprecisely 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; noe are using drawing as one of the bestwas intrusted to an occasional evening class, which only the older children could attend, and which was taught by so master; today we make music one of our most valuable school exercises Then all play tinize play as a necessary and valuable mode of expression and development Then dramatic representation was confined to the occasional exhibition or evening entertainnized 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 schoolrooe 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 for in artistic expression is that which co is still an unknown art to many teachers The play instinct is yet looked upon with suspicion and distrust in soe nuly today as ever, and contain an at to all forms of natural expression We can only comfort ourselves with Holmes's maxim, that it matters not soAnd we certainly are reater 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 e call character--that ized 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 e _are_ and e _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 e are chiefly fro, but a process; it is the succession of our thoughts and acts fro 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 hts and acts which constitute the day's life--is through _being_ or _doing_ well or ill

TWO LINES OF DEVELOPMENT--The cultivation of character lect the first is to forget that it is out of the abundance of the heart that the ood fruit; that the act is the true index of the soul To omit the second is to leave the character half formed, the eak, and the life inefficient and barren of results

The h 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 row into habits, so that we naturally and inevitably translate our ideas and ideals, our e not in thought and feeling alone, but also in the power to return to the world its finished product in the form of service

4 PROBLEMS IN INTROSPECTION AND OBSERVATION

1 Do you find that you understand better some difficult point or proble 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 y of the

3 Observe various schools at work for the purpose of deter whether opportunities for expression in the recitations are adequate

Have you ever seen a class when listless fro to _do_ thehter you hear Why is sohter? 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 exa their love for dramatic representation? What handicrafts are the rah school?

6 Do you nuh, 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 oers of expression? Are you seeking to cultivate expression in new lines? Is there danger in atte too many lines?