March 5th, 1796. To-day, at dinner, a lady observed that Nicholson, Williamson, Jackson, &c. were names which originally meant the sons of Nicholas, William, Jack, &c. A boy who was present, H —— , added, with a very grave face, as soon as she had finished speaking, “Yes, ma’am, Tydides.” His mother asked him what he could mean by this absent speech? H —— calmly repeated, “Ma’am, yes; because I think it is like Tydides.” His brother S —— eagerly interposed, to supply the intermediate ideas; “Yes, indeed, mother,” cried he, “H —— is not absent, because des, in Greek, means the son of (the race of.) Tydides is the son of Tydeus, as Jackson is the son of Jack.” In this instance, H —— was not absent, though he did not make use of a sufficient number of words to explain his ideas.
August, 1796. L —— , when he returned home, after some months absence, entertained his brothers and sisters with a new play, which he had learned at Edinburgh. He told them, that when he struck the table with his hand, every person present, was instantaneously to remain fixed in the attitudes in which they should be when the blow was given. The attitudes in which some of the little company were fixed, occasioned much diversion; but in speaking of this new play afterwards, they had no name for it. Whilst they were thinking of a name for it, H —— exclaimed, “The Gorgon!” It was immediately agreed that this was a good name for the play, and H —— , upon this occasion, was perfectly intelligible, without expressing all the intermediate ideas.
Good judges, form an accurate estimate of the abilities of those who converse with them, by what they omit, as well as by what they say. If any one can show that he also has been in Arcadia, he is sure of being well received, without producing minutes of his journey. In the same manner we should judge of children; if they arrive at certain conclusions in reasoning, we may be satisfied that they have taken all the necessary previous steps. We need not question their attention upon subjects where they give proofs of invention; they must have remembered well, or they could not invent; they must have attended well, or they could not have remembered. Nothing wearies a quick child more than to be forced slowly to retrace his own thoughts, and to repeat the words of a discourse to prove that he has listened to it. A tutor, who is slow in understanding the ideas of his vivacious pupil, gives him so much trouble and pain, that he grows silent, from finding it not worth while to speak. It is for this reason, that children appear stupid and silent, with some people, and sprightly and talkative with others. Those who hope to talk to children with any effect, must, as Rousseau observes, be able to hear as well as to speak. M. de Segrais, who was deaf, was much in the right to decline being preceptor to the Duke de Maine. A deaf preceptor would certainly make a child dumb.
To win the attention of vivacious children, we must sometimes follow them in their zigzag course, and even press them to the end of their own train of thought. They will be content when they have obtained a full hearing; then they will have leisure to discover that what they were in such haste to utter, was not so well worth saying as they imagined; that their bright ideas often, when steadily examined by themselves, fade into absurdities.
“Where does this path lead to? Can’t we get over this stile? May I only go into this wood?” exclaims an active child, when he is taken out to walk. Every path appears more delightful than the straight road; but let him try the paths, they will perhaps end in disappointment, and then his imagination will be corrected. Let him try his own experiments, then he will be ready to try yours; and if yours succeed better than his own, you will secure his confidence. After a child has talked on for some time, till he comes to the end of his ideas, then he will perhaps listen to what you have to say; and if he finds it better than what he has been saying himself, he will voluntarily give you his attention the next time you begin to speak.
Vivacious children are peculiarly susceptible of blame and praise; we have, therefore, great power over their attachment, if we manage these excitements properly. These children should not be praised for their happy hits, their first glances should not be extolled; but, on the contrary, they should be rewarded with universal approbation when they give proofs of patient industry, when they bring any thing to perfection. No one can bring any thing to perfection without long continued attention; and industry and perseverance presuppose attention. Proofs of any of these qualities may therefore satisfy us as to the pupil’s capacity and habits of attention; we need not stand by to see the attention exercised, the things produced are sufficient evidence. Buffon tells us that he wrote his Epoques de la Nature over eighteen times before he could perfect it to his taste. The high finish of his composition is sufficient evidence to intelligent readers, that he exerted long continued attention upon the work; they do not require to have the eighteen copies produced.
Bacon supposes, that for every disease of the mind, specific remedies might be found in appropriate studies and exercises. Thus, for “bird-witted” children he prescribes the study of mathematics, because, in mathematical studies, the attention must be fixed; the least intermission of thought breaks the whole chain of reasoning, their labour is lost, and they must begin their demonstration again. This principle is excellent; but to apply it advantageously, we should choose moments when a mathematical demonstration is interesting to children, else we have not sufficient motive to excite them to commence the demonstration; they will perceive, that they loose all their labour if their attention is interrupted; but how shall we make them begin to attend? There are a variety of subjects which are interesting to children, to which we may apply Bacon’s principle; for instance, a child is eager to hear a story which you are going to tell him; you may exercise his attention by your manner of telling this story; you may employ with advantage the beautiful figure of speech called suspension: but you must take care, that the hope which is long deferred be at last gratified. The young critics will look back when your story is finished, and will examine whether their attention has been wasted, or whether all the particulars to which it was directed were essential. Though in amusing stories we recommend the figure called suspension, we do not recommend its use in explanations. Our explanations should be put into as few words as possible: the closer the connection of ideas, the better. When we say, allow time to understand your explanations, we mean, allow time between each idea, do not fill up the interval with words. Never, by way of gaining time, pay in sixpences; this is the last resource of a bankrupt.
We formerly observed that a preceptor, in his first lessons on any new subject, must submit to the drudgery of repeating his terms and his reasoning, until these are sufficiently familiar to his pupils. He must, however, proportion the number of his repetitions to the temper and habits of his pupils, else he will weary, instead of strengthening, the attention. When a thing is clear, let him never try to make it clearer; when a thing is understood, not a word more of exemplification should be added. To mark precisely the moment when the pupil understands what is said, the moment when he is master of the necessary ideas, and, consequently, the moment when repetition should cease, is, perhaps, the most difficult thing in the art of teaching. The countenance, the eye, the voice, and manner of the pupil, mark this instant to an observing preceptor; but a preceptor, who is absorbed in his own ideas, will never think of looking in his pupil’s face; he will go on with his routine of explanation, whilst his once lively, attentive pupil, exhibits opposite to him the picture of stupified fatigue. Quick, intelligent children, who have frequently found that lessons are reiterated by a patient but injudicious tutor, will learn a careless mode of listening at intervals; they will say to themselves, “Oh I shall hear this again!” And if any stray thought comes across their minds, they will not scruple to amuse themselves, and will afterwards ask for a repetition of the words or ideas which they missed during this excursion of fancy. When they hear the warning advertisement of “certainly for the last time this season,” they will deem it time enough to attend to the performance. To cure them of this presumption in favour of our patience, and of their own superlativ
e quickness, we should press that quickness to its utmost speed. Whenever we call for their attention, let it be on subjects highly interesting or amusing, and let us give them but just sufficient time with their fullest exertion to catch our words and ideas. As these quick gentlemen are proud of their rapidity of apprehension, this method will probably secure their attention, they will dread the disgrace of not understanding what is said, and they will feel that they cannot understand unless they exert prompt, vigorous, unremitted attention.
The Duchess of Kingston used to complain that she could never acquire any knowledge, because she never could meet with any body who could teach her anything “in two words.” Her Grace felt the same sort of impatience which was expressed by the tyrant who expected to find a royal road to Geometry.
Those who believe themselves endowed with genius, expect to find a royal road in every science shorter, and less laborious, than the beaten paths of industry. Their expectations are usually in proportion to their ignorance; they see to the summit only of one hill, and they do not suspect the Alps that will arise as they advance: but as children become less presumptuous, as they acquire more knowledge, we may bear with their juvenile impatience, whilst we take measures to enlarge continually their sphere of information. We should not, however, humour the attention of young people, by teaching them always in the mode which we know suits their temper best. Vivacious pupils should, from time to time, be accustomed to an exact enumeration of particulars; and we should take opportunities to convince them, that an orderly connection of proofs, and a minute observation of apparent trifles, are requisite to produce the lively descriptions, great discoveries, and happy inventions, which pupils of this disposition are ever prone to admire with enthusiasm. They will learn not to pass over old things, when they perceive that these may lead to something new; and they will even submit to sober attention, when they feel that this is necessary even to the rapidity of genius. In the “Curiosities of Literature,” there has been judiciously preserved a curious instance of literary patience; the rough draught of that beautiful passage in Pope’s translation of the Iliad which describes the parting of Hector and Andromache. The lines are in Pope’s hand-writing, and his numerous corrections appear; the lines which seem to the reader to have been struck off at a single happy stroke, are proved to have been touched and retouched with the indefatigable attention of a great writer. The fragment, with all its climax of corrections, was shown to a young vivacious poet of nine years old, as a practical lesson, to prove the necessity of patience to arrive at perfection. Similar examples, from real life, should be produced to young people at proper times; the testimony of men of acknowledged abilities, of men whom they have admired for genius, will come with peculiar force in favour of application. Parents, well acquainted with literature, cannot be at a loss to find opposite illustrations. The Life of Franklin is an excellent example of persevering industry; the variations in different editions of Voltaire’s dramatic poetry, and in Pope’s works, are worth examining. All Sir Joshua Reynolds’s eloquent academical discourses enforce the doctrine of patience; when he wants to prove to painters the value of continual energetic attention, he quotes from Livy the character of Philopœmen, one of the ablest generals of antiquity. So certain it is, that the same principle pervades all superior minds: whatever may be their pursuits, attention is the avowed primary cause of their success. These examples from the dead, should be well supported by examples from amongst the living. In common life, occurrences can frequently be pointed out, in which attention and application are amply rewarded with success.
It will encourage those who are interested in education, to observe, that two of the most difficult exercises of the mind can, by practice, be rendered familiar, even by persons whom we do not consider as possessed of superior talents. Abstraction and transition — abstraction, the power of withdrawing the attention from all external objects, and concentrating it upon some particular set of ideas, we admire as one of the most difficult exercises of the philosopher. Abstraction was formerly considered as such a difficult and painful operation, that it required perfect silence and solitude; many ancient philosophers quarrelled with their senses, and shut themselves up in caves, to secure their attention from the distraction caused by external objects. But modern philosophers have discovered, that neither caves nor lamps are essential to the full and successful exercise of their mental powers. Persons of ordinary abilities, tradesmen and shop-keepers, in the midst of the tumult of a public city, in the noise of rumbling carts and rattling carriages, amidst the voices of a multitude of people talking upon various subjects, amidst the provoking interruptions of continual questions and answers, and in the broad glare of a hot sun, can command and abstract their attention so far as to calculate yards, ells, and nails, to cast up long sums in addition right to a farthing, and to make out multifarious bills with quick and unerring precision. In almost all the dining houses at Vienna, as a late traveller informs us “a bill of fare containing a vast collection of dishes is written out, and the prices are affixed to each article. As the people of Vienna are fond of variety, the calculation at the conclusion of a repast would appear somewhat embarrassing; this, however, is done by mechanical habit with great speed; the custom is for the party who has dined to name the dishes, and the quantity of bread and wine. The keller who attends on this occasion, follows every article you name with the sum, which this adds to the calculation, and the whole is performed, to whatever amount, without ink or paper. It is curious to hear this ceremony, which is muttered with great gravity, yet performed with accuracy and despatch.”
We coolly observe, when we read these things, “Yes, this is all habit; any body who had used himself to it might do the same things.” Yet the very same power of abstracting the attention, when employed upon scientific and literary subjects, would excite our astonishment; and we should, perhaps, immediately attribute it to superior original genius. We may surely educate children to this habit of abstracting the attention, which we allow depends entirely upon practice. When we are very much interested upon any subject, we attend to it exclusively, and, without any effort, we surmount all petty interposing interruptions. When we are reading an interesting book, twenty people may converse round about us, without our hearing one word that they say; when we are in a crowded playhouse, the moment we become interested in the play, the audience vanish from our sight, and in the midst of various noises, we hear only the voices of the actors.
In the same manner, children, by their eager looks and their unaffected absence to all external circumstances, show when they are thoroughly interested by any story that is told with eloquence suited to their age. When we would teach them to attend in the midst of noise and interruptions, we should begin by talking to them about things which we are sure will please them; by degrees we may speak on less captivating subjects, when we perceive that their habit of beginning to listen with an expectation of pleasure is formed. Whenever a child happens to be intent upon any favourite amusement, or when he is reading any very entertaining book, we may increase the busy hum around him, we may make what bustle we please, he will probably continue attentive; it is useful therefore to give him such amusements and such books when there is a noise or bustle in the room, because then he will learn to disregard all interruptions; and when this habit is formed, he may even read less amusing books in the same company without being interrupted by the usual noises.
The power of abstracting our attention is universally allowed to be necessary to the successful labour of the understanding; but we may further observe, that this abstraction is characteristic in some cases of heroism as well as of genius. Charles the Twelfth and Archimedes were very different men; yet both, in similar circumstances, gave similar proofs of their uncommon power of abstracting their attention. “What has the bomb to do with what you are writing to Sweden,” said the hero to his pale secretary when a bomb burst through the roof of his apartment, and he continued to dictate his letter. Archimedes went on with his demonstra
tion in the midst of a siege, and when a brutal soldier entered with a drawn sword, the philosopher only begged he might solve his problem before he was put to death.
Presence of mind in danger, which is usually supposed to depend upon our quick perception of all the present circumstances, frequently demands a total abstraction of our thoughts. In danger, fear is the motive which excites our exertions; but from all the ideas that fear naturally suggests, we must abstract our attention, or we shall not act with courage or prudence. In proportion to the violence of our terror, our voluntary exertion must be great to withdraw our thoughts from the present danger, and to recollect the means of escape. In some cases, where the danger has been associated with the use of certain methods of escape, we use these without deliberation, and consequently without any effort of attention; as when we see any thing catch fire, we instantly throw water upon the flames to extinguish them. But in new situations, where we have no mechanical courage, we must exert much voluntary, quick, abstract attention, to escape from danger.
When Lee, the poet, was confined in Bedlam, a friend went to visit him; and finding that he could converse reasonably, or at least reasonably for a poet, imagined that Lee was cured of his madness. The poet offered to show him Bedlam. They went over this melancholy, medical prison, Lee moralising philosophically enough all the time to keep his companion perfectly at ease. At length they ascended together to the top of the building; and, as they were both looking down from the perilous height, Lee seized his friend by the arm, “Let us immortalize ourselves!” he exclaimed; “let us take this leap. We’ll jump down together this instant.” “Any man could jump down,” said his friend, coolly; “we should not immortalize ourselves by that leap; but let us go down, and try if we can jump up again.” The madman, struck with the idea of a more astonishing leap than that which he had himself proposed, yielded to this new impulse, and his friend rejoiced to see him run down stairs full of a new project for securing immortality.
Complete Novels of Maria Edgeworth Page 698
