Part 21 (1/2)

”_Method_ The teacher should write the theme on the blackboard, and invite the pupils to think of (not to say) a possible consequence of the fact indicated in the theme The teacher must let it be understood that the pupils are to work independently, without the help of suggestion Let us see:

”_Luisa threw a piece of wool into the fire_ (theme) Think of a possible consequence, say what happened in consequence

”_The wool caused a bad sood You repeat the narrative:

”_Luisa threw a piece of wool into the fire The wool caused a bad sht, another possible consequence?

”_The teacher reproved Luisa A pupil opened the _ The teacher repeats the exercise using the the the result arrived at with the collaboration of the scholars to be written in their copy-books

”A theme may be proposed and the pupils may be left free to develop it without any further explanations

Theme A--_Luisa threw a piece of wool into the fire_ (The wool caused a bad smell The teacher reproved Luisa A companion opened theto allow the bad odor to escape)

Theme B--_Ernesto upset the ink on the floor_ (The floor was stained The teacher reproved the child Ernesto promised to be more careful)

Theme C--_Elisa read the story well_ (The teacher praised her and gave her a good mark Elisa was very much pleased)

Theme D--_Mario made a blot on his copy-book_ (The teacher did not correct his exercise; she scolded hi)

”After all this collective practise the teacher gives a free the: 'Maria knew her lesson well' In developing it, the children are expected to follow the above examples: that is to say, they are to indicate in two sentences the logical effects of such a cause (the teacher gave her ten marks and praised her; then she told her to persevere in her industry)”

Soical purport rather than a logical one In such a case the ”little thoughts” are not linked together as cause and effect, but by the display of psychical activities in three spheres: ”knowing, feeling, and willing”

Examples:

Amelia made me smell some ammonia (fact perceived)--

What a horrible sain (volition)

Gigi pulled my hair (fact perceived)--It hurt me (sentiment) I pulled my companion's hand away quickly (volition) (_I Diritti della Scuola_, Year xiv, No 16, p

232)

With methods such as these it is obvious that every possibility of inspiration and creation will be destroyed The child has to follow phrase by phrase what the teacher indicates; thus every spark of aptitude for original composition is quenched Not only does the child remain _empty of material_ ith to create, as in the past, but the very capacity for creation disappears, so that if, to-morrow, er have the iht would be fettered by his school routine

Intellectual education carried on by the teacher on such a system makes one think of a chauffeur who should shut up the th of his arms He would in this case be a porter, and the automobile a useless machine When, on the other hand, the motor is open, the internal force uide it that itthe street, not run into obstacles or rush into ditches, and not injure any one upon its course

This _guidance_ is the only thing necessary; but the real progression is due solely to the internal impulse, which no one can create

It was thus that the first Italian literary Renascence came about, when the ”neeet style” arose with Dante as the spontaneous expression of feeling:

”Count of me but as one Who am the scribe of Love, that when he breathes Take up my pen and as he dictates, write”

(Carey's translation, _Purgatorio_, Canto XXIV)

The child ; he must take spontaneously from the external world constructive ence freely before he can be ready to find the logical connection between things We ought to offer the child that which is necessary for his internal life, and leave him free to produce