How to Teach Part 8

13. Give examples of reasoning demanded in school work in which the process is predominantly inductive. Deductive.

14. Why are the statements "Induction proceeds from particulars to generals" and "Deduction from generals to particulars" inadequate to describe either process?

15. In what sense is thinking dependent upon the operation of the laws of habit?

16. To what degree is it possible to teach your pupils to think? Under what limitations do you work?

VIII. APPRECIATION, AN IMPORTANT ELEMENT IN EDUCATION

Appreciation belongs to the general field of feeling rather than that of knowing. The element which distinguishes appreciation from memory or imagination or perception is an affective one. Any one of these mental states may be present without the state being an appreciative one. But appreciation does not occur by itself as an elementary state, it is rather a complex--a feeling tone accompanying a mental state or process and coloring it. In other words, appreciation involves the presence of some intellectual states, but its addition makes the total complex of an emotional rather than a cognitive nature. The difficulty found in discussing emotions in general, that of defining or describing them in language, which is a tool of the intellect, is felt here. The only way to know what appreciation means is to appreciate. No phase of feeling can be adequately described--its essence is then lost--it must be felt.

Nevertheless something may be done to differentiate this type of feeling from others.

Appreciation is an att.i.tude of mind which is pa.s.sive, contemplative. It may grow out of an active att.i.tude or emotion, or it may lead to one, but in either case the state changes from one of appreciation to something else. In appreciation the individual is quiescent.

Appreciation, therefore, has no end outside of itself. It is a sufficient cause for being. The individual is satisfied with it. This puts appreciation into the category of recreation. Appreciation then always involves the pleasure tone, otherwise it could not be enjoyed. It is always impersonal. It takes the individual outside and beyond his own affairs; it is an other-regarding feeling. Possession, achievement, and the like do not arouse appreciation, but rather an egoistical emotion.

One of the salient characteristics of emotions is their unifying power.

It has aptly been said that in extreme emotional states one _is_ the emotion. The individual and his emotional state become one--a very different state of affairs from what is true in cognition. This element of unification is present to some extent in appreciation, although, because of its complex nature, to a lesser extent than in a simpler, more primitive feeling state. Still, in true appreciation one does become absorbed in the object of appreciation; he, for the time being, to some extent becomes identified with what he is appreciating. In, order to appreciate this submerging of one's self, this identification is necessary.

Appreciation is bound up with four different types of situations which are of most importance to the teacher--(1) appreciation of the beautiful, (2) appreciation of human nature, (3) appreciation of the humorous, (4) appreciation of intellectual powers. The appreciation found in these four types of situations must vary somewhat because of the concomitants, but the characteristics which mark appreciation as such seem to be present in all four. True, in certain of the situations occurring under these types the emotional element may be stronger than in others--in some the intellectual element may seem to almost outweigh the affective, but still the predominant characteristics will be found to be those of an att.i.tude which has the earmarks of appreciation.

Appreciation of beauty has usually been discussed under the head of aesthetic emotions. As to what rightfully belongs under the head of aesthetics is in dispute--writers on the subject varying tremendously in their opinions. Most of the recent writers, however, agree that the stimulus for aesthetic appreciation must be a sense percept or an image of some sense object. Ideas, meanings, in and of themselves, are not then objects of aesthetic enjoyment. The two senses which furnish the stimuli for this sort of appreciation are the eye and the ear--the former combining sensations under s.p.a.ce form and the latter under time form to produce aesthetic feelings. Our senses may cause feelings of pleasure, but the enjoyment is sensuous rather than aesthetic. Nature, in all its myriad forms, art, architecture, music, literature, and the dance are the chief sources of aesthetic appreciation. That there is a definite connection between physiological processes and the feeling of appreciation is without doubt true, but just what physiological conditions in connection with visual and auditory perception are fulfilled when some experience gives rise to aesthetic appreciation, and just what is violated when there is lack of such appreciation, is not known. It is known that both harmony and rhythm must be considered in music, and that the structure and muscular control of the eye plus the ease of mental apprehension play important parts in rousing aesthetic feelings in connection with vision, but further than that little is known.

The chief danger met in developing the aesthetic appreciation is the tendency to overestimate its dependence on, in the first place, skill in creative work and the active emotions involved in achievement, and in the second place, the intellectual understanding of the situation. It has been largely taken for granted that the constructive work in the arts or in music increased one's power of appreciation. That, if a child used color and painted a little picture, or composed a melody, or modeled in clay, he would therefore be able to appreciate better in these fields. And further that the very development of this power to do necessarily developed the power to appreciate. These two beliefs are true to some extent, but only to a limited extent, and not nearly so far as practice has taken for granted. It is true that some power to do increases power to appreciate, but they parallel each other only for a short time and then diverge, and either may be developed at the expense of the other. In most people the power to appreciate, the pa.s.sive, contemplative enjoyment, far surpa.s.ses the ability to create. On the other hand, men of creative genius often lack power of aesthetic appreciation. This result is natural if one thinks of the mental processes involved in the two. Power to do is a.s.sociated with muscular skill, with technique, and with the personal emotions of active achievement. aesthetic appreciation, on the other hand, is a.s.sociated with neither, but with a mental att.i.tude and feelings which are quite different. Cultivating one set of processes will not develop the other to any great extent and may, on the other hand, be antagonistic to their development. If the aesthetic emotions, if appreciations of the beautiful, are desired, they must be trained and developed directly.

The second danger to be avoided in developing aesthetic appreciation is that of magnifying its dependence on the intellectual factors. To understand, to be able to a.n.a.lyze, to pick out the flaws in a musical selection, or a painting, is not necessary to its appreciation. True, some understanding is necessary, but, as in the case of skill, it is much less than has been taken for granted. Appreciation can go far ahead of understanding. The intellectual factor and the feeling response are not absolutely interdependent in degree. Not only so, but the prominence of the intellectual factor precludes that of the feeling. When one is emphasized the other cannot be, as they are different sorts of mental stuff. Continuous and emphatic development of the intellectual may result in the atrophy of the power of appreciation in any given field either temporarily or permanently. Many a boy's power to enjoy the rhythm and melody of poetry has been destroyed by the overemphasis of the critical facility during his high school course. The fact that a person can a.n.a.lyze the painting, point out the plans in its composition, and so on, does not at all mean that he can aesthetically appreciate.

Contemplative enjoyment may be impossible for him--it bores him.

Botanists are not noted for their power of aesthetic appreciation. It is an acknowledged fact that some art and music critics have lost their power of appreciation of the things they are continually criticizing.

This discussion is not intended to minimize the value of creative skill, or of power of intellectual criticism. Both are talents that are well worth while cultivating. But it is necessary for one to decide which of the three, aesthetic appreciation, creative skill, or intellectual criticism, in the fields of art, nature, and music, is most worth while for the majority of people and then make plans accordingly. No one of the three can be best developed and brought to its highest perfection by emphasizing any one of the others.

The second type of appreciation is appreciation of human nature: appreciation of the value of human life, appreciation of its virtues and trials, appreciation of great characters, and so on. Some writers would probably cla.s.s this type of appreciation under moral feelings--but moral feelings usually are thought of as active, as accompaniments of conduct, whereas these appreciations are feelings aroused in the onlooker--they are pa.s.sive and for the time being are an end in themselves. These feelings are stimulated by such studies as literature and history particularly. Geography and civics offer some opportunity for their development, and, of course, contact with people is the greatest stimulus. In this latter type of situation the feelings of appreciation easily pa.s.s over into active emotions, but so long as one remains an onlooker, they need not do so. This appreciation, sympathy with and enjoyment and approval of human nature, finds its source in the social instincts, but it needs development and training if it is to be perfected. Very much of the time this appreciation is inhibited by the emphasis put on understanding. The intellectual faculties of memory, judgment, and criticism are the ones called into play in the study of history and often of literature. These studies leave the learner cold.

He knows, but it does not make any difference to him. He can a.n.a.lyze the period or the character, but he lacks any feeling response, any appreciation of the qualities of endurance and loyalty portrayed, lacks any _sympathetic_ understanding of the difficulties met and conquered.

As was true of the aesthetic appreciation, a certain amount of understanding is necessary for true appreciation of any kind, but overemphasis of the intellectual element destroys the feeling element.

The third type of appreciation to be discussed is the appreciation of humor. Perhaps this does not belong with the other type, but it certainly has many of the same characteristics. Calkins defines a sense of humor as "enjoyment of an unessential incongruity.... This incongruity must be, as has been said, an unessential one, else the mood of the observer changes from happiness to unhappiness, and the comic becomes the pathetic. A fall on the ice which seemed to offer only a ludicrous contrast between the dignity and grace of the man erect and the ungainly att.i.tude of the falling figure ceases utterly to be funny when it is seen to entail some physical injury; and wit which burns and sears is not amusing to its victim."[12] The ability to appreciate the humorous in life is a great gift and should be cultivated to a much greater extent than it is at present.

A fourth type of appreciation has been called appreciation of intellectual powers--a poor name perhaps, but the feeling is a real one.

Enjoyment of style, of logical sequence, of the harmony of the whole, of the clear-cut, concise, telling sentences, are ill.u.s.trations of what is meant. Enjoyment of a piece of literature, of a debate, of an argument, of a piece of scientific research, is not limited to the appreciation of the meanings expressed--in fact, in many cases the only factor that can arouse the feeling element, the appreciation, is this element of form.

One may _understand_ an argument or a debate as he hears it, but appreciation, enjoyment of it, comes only as a result of the consciousness of these elements of form.

_That_ one possesses these feelings of appreciation, at least to some degree, is a matter of human equipment, but _what_ one appreciates in art, literature, human nature, etc., depends primarily on training.

There is almost no situation in life that with all people at all times will arouse appreciative feelings. Although there are a few fundamental conditions established by the physical make-up of the sense organs and by the original capacities of the human race, still they are few, and at present largely unknown, and experience does much to modify even these.

What is crude, vulgar, inharmonious, in art and music to some people, arouses extreme aesthetic appreciation in others. Literature that causes one person to throw the book down in disgust will give greatest enjoyment to another. What is malice to one person is humorous to another. What people enjoy and appreciate depends primarily on their experience for the development of these feelings, depends upon the laws of a.s.sociation, readiness, exercise, and effect. To raise power of appreciation from low levels to high, from almost nothing to a controlling force, needs but the application of these laws. But no one of them can be neglected with impunity. It must be a gradual growth, beginning with tracks that are ready, because of the presence of certain instincts, and working on to others through the law of a.s.sociation. To expect a child of seven to appreciate a steel engraving, or a piece of cla.s.sic music, or moral qualities in another person is to violate the law of readiness. To expect any one in adult life to enjoy music, or art, or nature, who has not had experience with each and enjoyed each continually as a child, is to violate the laws of exercise and effect.

Two or three suggestions as to aids in the application of these laws may be in place. First, a wealth of images is an aid to appreciation.

Second, the absence for the time of the critical att.i.tude. Third, an encouragement of the pa.s.sive contemplative att.i.tude. Fourth, the example of others. Suggestion and a.s.sociation with other people who do appreciate and enjoy are among the best means of securing it.

The value of feelings of appreciation are threefold: First, they serve as recreation. It is in enjoyment of this kind that most of the leisure of civilized races is spent. It serves on the mental level much the same purpose that play does, in fact, much of it is mental play of a kind.

Second, they are impersonal. They are valuable in that they take us out of ourselves, away from self-interests, and therefore make for mental health and sanity as well as for a sympathetic character. They are also a means of broadening one's experience. Third, they have a close relationship with ideals and therefore have an active bearing on conduct. It is not necessarily true that one will tend in himself or in his surroundings to be like what he enjoys and appreciates, but the tendency will be strongly in that direction. If an individual truly appreciates, enjoys, beautiful pictures, good music and books, he will be likely, so far as he can, to surround himself with them. If he appreciates loyalty, openmindedness, tolerance, as he meets them in literature and history, he may become more so himself. At least, the developing of appreciations is the first step towards conduct in those lines. In order to insure the conduct, other means must be taken, but without the appreciation the conduct will be less sure.

One who would count most in developing power of appreciation upon the part of children may well inquire concerning his own power of appreciation. There is not very much possibility of the development of joy in poetry, in music, or any other artistic form of expression through a.s.sociation with the teacher who finds little satisfaction in these artistic forms, who has little power of aesthetic appreciation. It is only as teachers themselves are sincere in their appreciation of the n.o.bility of character possessed by the men and women whose lives are portrayed in history, in literature, or in contemporary social life that one may expect that their influence will be important in developing such appreciation upon the part of children. Those pupils are fortunate who are taught by teachers who have a sense of humor, who are able to grow enthusiastic over the intellectual achievement of the leaders in the field of study or investigation in which the children are at work.

Children are, indeed, quick to discover sentimentalism or pseudo-appreciation upon the part of teachers, but even though they may not give any certain expression to their enjoyment, they are usually largely influenced by the att.i.tude and genuine power of appreciation possessed by the teacher.

In our attempt to have children grow in the field of appreciation we have often made the mistake of attempting to impose upon them adult standards. A great librarian in one of our eastern cities has said that he would rather have children read dime novels than to have them read nothing. From his point of view it was more important to have children appreciating and enjoying something which they read than to have their lives barren in this respect. In literature, in music, and in fine art the development in power of appreciation is undoubtedly from the simple, cruder forms to those which we as adults consider the higher or n.o.bler forms of expression. Mother Goose, the rhymes of Stevenson, of Field, or of Riley, may be the beginning of the enjoyment of literature which finds its final expression in the reading and in the possession of the greatest literature of the English language. The simple rote songs which the children learn in the first grade, or which they hear on the phonograph, may lead through various stages of development to the enjoyment of grand opera. Pictures in which bright color predominates may be the beginning of power of appreciation which finds its fruition in a home which is decorated with reproductions of the world's masterpieces.

It is not only in the artistic field that this growth in power of appreciation from the simpler to the more complex is to be found.

Children instinctively admire the man who is brave rather than the man who endures. Achievement is for most boys and girls of greater significance than self-sacrifice. It is only as we adapt our material to their present attainment, or to an attempt to have them reach the next higher stage of development, that we may expect genuine growth. All too often instead of growth we secure the development of a hypocritical att.i.tude, which accepts the judgment of others, and which never really indicates genuine enjoyment.

While it is best not to insist upon an a.n.a.lysis of the feelings that one has in enjoying a picture or a poem or a great character, it is worth while to encourage choice. Of many stories which have been told, children may very properly choose one which they would like to tell to others. Of many poems which have been read in cla.s.s, a group of boys may admire one and commit it to memory, while the girls may care for another and be allowed to memorize it. Wherever such cooperation is possible, the picture which you enjoy most is the one that will mean most in power of appreciation if placed in your room at home. Spontaneous approval, rather than an agreement with an adult teacher who is considered an authority, is to be sought for. There is more in the spontaneous laughter which results as children read together their "Alice in Wonderland" than could possibly result from an a.n.a.lysis of the quality of humor which is involved.

We are coming to understand as a matter of education that we may hope to develop relatively few men and women of great creative genius. The producers of work of great artistic worth are, for the most part, to be determined by native capacity rather than by school exercises. We must think of the great majority of school children as possible consumers rather than as producers. Schools which furnish a maximum of opportunity to enjoy music and pictures may hope to develop in their community a power of discrimination in these fields which will result in satisfaction with nothing less than the best. The player-piano and the phonograph may mean more in the development of musical taste in a community than all of the lessons which are given in the reading of music. The art gallery in the high school, the folk dances which have been produced as a part of the school festivals, the reading of the best stories, may prepare the way for the utilization of leisure time in the pursuit of the n.o.bler pleasures. The teacher with a saving sense of humor, large in his power of appreciation of the great men and women of his time, and all of the time keen in his own enjoyment and in his ability to interpret for others those things which are most worth while in literature and in art, may count more largely in the life of the community than the one who is a master in some field of investigation.

QUESTIONS

1. What are the characteristics of the mental states which are involved in appreciation?

2. Name the different types of situations in which appreciation may be developed. Give examples.

3. Does the power to criticize poetry or music necessarily involve appreciation?

4. To what degree may skill in creative work result in power of appreciation?

5. What are the elements involved in appreciating human nature?

6. Give an example of appreciation of intellectual powers.

7. What is the essential element in the appreciation of humor?

8. Explain how the power of appreciation is dependent upon training.

9. What values in the education of an individual are realized through growth in power of appreciation?

10. Why is it important for a teacher to seek to cultivate his own power of appreciation?

11. What poems, or pictures, or music would you expect first-grade children to enjoy? Why?

12. Would you expect fifth-grade children to grow in appreciation of poetry by having them commit to memory selections from Milton's Paradise Lost? Why?

13. Why is it important to allow children to choose the poems that they commit to memory, or the pictures which they hang on their walls?

14. Why would you accept spontaneous expression of approval of the characters in literature or in history, rather than seek to control the judgments of children in this respect?