Special Method in Primary Reading and Oral Work with Stories Part 5

There are no complex conditions surrounding Crusoe, and he takes up the labors of the common trades in a simple and primitive manner. Physical and mental effort are demanded at every step, from Crusoe and from the children. Many of his efforts involve repeated failure, as in making pottery, in building a boat, while some things that he undertakes with painful toil never attain success. The lesson of toil and hards.h.i.+p connected with the simple industries is one of great moment to children.

Our whole social fabric is based on these toils, and it is one of the best results of a sound education to realize the place and importance of hard work.

It scarcely needs to be pointed out that Crusoe typifies a long period of man's early history, the age when men were learning the rudiments of civilization by taking up the toils of the blacksmith, the agriculturist, the builder, the domesticator of animals and plants. Men emerged from barbarism as they slowly and painfully gained the mastery over the resources of nature. Crusoe is a sort of universal man, embodying in his single effort that upward movement of men which has steadily carried them to the higher levels of progress. It has been said with some truth that Robinson Crusoe is a philosophy of history. But we scarcely need such a high-sounding name. To the child he is a very concrete, individual man, with very simple and interesting duties.

In a second point the author of "Robinson Crusoe" shows himself a literary master. There is an intense and naive realism in his story.

Even if one were so disposed, it would require a strong effort to break loose from the feeling that we are in the presence of real experiences.

There is a quiet but irresistible a.s.sumption of unvarnished and even disagreeable fact in the narrative. But it is useless to describe the style of a book so familiar. Its power over youthful fancy and feeling has been too often experienced to be doubted. The vivid interest which the book awakens is certain to carry home whatever lessons it may teach with added force. So great is this influence that boys sometimes imitate the efforts of Crusoe by making caves, building ovens, and a.s.suming a style of dress and living that approximates Crusoe's state. This supplies to teachers a hint of some value. The story of Crusoe should lead to excursions into the home neighborhood for the purpose of a closer examination of the trades and occupations there represented. An imitation of his labors may also be encouraged. The effort to mould and bake vessels from potter's clay, the platting of baskets from willow withes, the use of tools in making boxes or tables may be attempted far enough to discover how lacking in practical ability the children are.

This will certainly teach them greater respect for manual skill.

From the previous discussion it might appear that we regard the story of Crusoe as technological and industrial rather than moral. But it would be a mistake to suppose that a book is not moral because it is not perpetually dispensing moral plat.i.tudes. Most men's lives are mainly industrial. The display of moral qualities is only occasional and incidental. The development of moral character is coincident with the labors and experiences of life and springs out of them, being manifested by the spirit with which one acts toward his fellow-men. But Crusoe was alone on his island, and there might seem to be no opportunity to be moral in relation to others. Society, to be sure, was conspicuous by its absence. But the intense longing with which he thought of the home and companions.h.i.+ps lost is perhaps the strongest sentiment in the book. His loneliness brings out most vividly his true relation to home and friends.

His early life, till the s.h.i.+pwreck, was that of a wayward and reckless youth, disobedient to parents and seemingly without moral scruples. Even during the first months upon the island there appears little moral change or betterment. But slowly the bitter experiences of his lonely life sober him. He finds a Bible, and a fit of sickness reveals the distresses that may lie before him. When once the change has set in, it is rapid and thorough. He becomes devout, he longs to return to his parents and atone for his faults. A complete reformation of his moral disposition is effected. If one will take the pains to read the original "Robinson Crusoe" he will find it surprisingly serious and moral in its tone. He devotes much time to soliloquizing on the distresses of his condition and upon the causes which have brought him to misery. He diagnoses his case with an amount of detail that must be tedious to children. The fact that these parts of the book often leave little direct impression upon children is proof that they are chiefly engaged with the adventure and physical embarra.s.sments of Crusoe. For the present it is sufficient to observe that the story is deeply and intensely moral both in its spirit and in the changes described in "Crusoe."

We are next led to inquire whether the industrial and moral lessons contained in this story are likely to be extracted from it by a boy or girl who reads it alone, without the aid of a teacher. Most young readers of "Crusoe" are carried along by the interesting adventure. It is a very surprising and entertaining story. But children even less than adults are inclined to go deeper than the surface and draw up hidden treasures. De Foe's work is a piece of cla.s.sic literature. But few people are inclined to get at the deeper meaning and spirit of a cla.s.sical masterpiece unless they go through it in companions.h.i.+p with a teacher who is gifted to disclose its better meaning. This is true of any cla.s.sical product we might mention. It should be the peculiar function of the school to cultivate a taste, and an appreciative taste, for the best literature; not by leaving it to the haphazard home reading of pupils, but by selecting the best things adapted to the minds of children and then employing true teaching skill to bring these treasures close to the hearts and sympathies of children. Many young people do not read "Robinson Crusoe" at all; many others do not appreciate its better phases. The school will much improve its work by taking for its own this best of children's stories, and by extending and deepening the children's appreciation of a cla.s.sic.

The story of Robinson Crusoe is made by the Herbartians the nucleus for the concentration of studies in the second year. This importance is given to it on account of its strong moral tone and because of its universal typical character in man's development. Without attempting a solution of the problem of concentration at this juncture, we should at least observe the relations of this story to the other studies. Wilmann says: "The everywhere and nowhere of the fairy tale gives place to the first geographical limitations. The continents, the chief countries of Europe, come up, besides a series of geographical concepts such as island, coast, bay, river, hill, mountain, sea, etc. The difference in climate is surprising. Crusoe fears the winter and prepares for it, but his fear is needless, for no winter reaches his island." We have already observed its instructive treatment of the common occupations which prepare for later geographical study, as well as for natural science.

Many plants and animals are brought to notice which would furnish a good beginning for natural science lessons. It is advisable, however, to study rather those home animals and plants which correspond best to the tropical products or animals in the lessons. Tropical fruits, the parrot, and the goat we often meet at home, but in addition, the sheep, the ox, the mocking-bird, the woodp.e.c.k.e.r, our native fruits and grains, and the fish, turtles, and minerals of the home, may well be suggested and studied in science lessons parallel with the life of Crusoe.

Following upon the oral treatment and discussion of "Robinson Crusoe"

the children are easily led to like efforts at construction, as, for instance, the making of a raft, the building of the cave and stockade, the making of chairs and tables, the moulding of jars and kettles out of clay, the weaving of baskets, the preparation and cooking of foods, the planting of grains, the construction of an oven or house, boat building, and other labors of Crusoe in providing for his wants.

It is quite customary now in second grade to set the children to work in these efforts to solve Crusoe's problems, so that they, by working with actual materials, may realize more fully the difficulties and trials to which he was subjected. In close connection with these constructive efforts are the drawings of the scenes of the story, such as the s.h.i.+pwreck, the stockade, the boat, the map of the island, and some of the later events of the story. A still further means of giving reality to the events is to dramatize some of the scenes between Friday and Crusoe, and to dress and equip these and other persons in the story in fitting manner. The children gladly enter into such dramatic action.

These various forms of drawing, action, and constructive work are in close connection with the home studies of industries and occupations,--farming, gardening, carpenter and blacksmith shops, weaving, cooking, bakeries, and excursions to shops--which follow the Crusoe story in the study of home geography in the third grade.

Although the story should be given and discussed orally, the children should also read it later as a part of the regular reading exercise of the course. Instead of suffering from this repet.i.tion, their interest will only be increased. Cla.s.sical products usually gain by repet.i.tion.

The facts are brought out more clearly and the deeper meaning is perceived. To have the oral treatment of a story precede its reading by some weeks or months produces an excellent effect upon the style of the reading. The thought being familiar, and the interest strong, the expression will be vigorous and natural. Children take a pride in reading a story which they at first must receive orally for lack of reading power.

The same advantageous drill in the use of good English accrues to the Crusoe story that was observed in the fairy tales. There is abundant opportunity for oral narrative and description.

The use of the pencil and chalk in graphic representation should be encouraged both in teacher and in pupils. Thus the eye becomes more accurate in observation and the hand more free and facile in tracing the outlines of the interesting forms studied. The use of tools and materials in construction gives ideas an anchorage, not only in the brain, but even in the nerves and muscles.

In thus glancing over the field we discover the same many-sided and intimate relation with other school studies, as in the previous grade.

In fact, "Crusoe" is the first extended cla.s.sical masterpiece which is presented to the children as a whole. Such parts of the story as are of most pedagogical value should be simplified and woven together into a continuous narrative. That part of the story which precedes the s.h.i.+pwreck may be reduced to a few paragraphs which bring out clearly his early home surroundings, his disobedience and the desertion of his parents, and the voyage which led to his lonely life upon the island.

The period embraced in his companionless labors and experiences const.i.tutes the important part for school uses. A few of the more important episodes following the capture of Friday and his return home may be briefly told. We deem it a long step forward to get some of our great cla.s.sical masterpieces firmly embedded in the early years of our school course. It will contribute almost as much to the culture and stimulation of teachers as of pupils.

The method of handling this narrative before the cla.s.s will be similar to that of the fairy tales. A simple and vivid recital of the facts, with frequent questions and discussions, so as to draw the story closer to the child's own thought and experience, should be made by the teacher. Much skill in ill.u.s.trative device, in graphic description, in diagram or drawing, in the appeal to the sense experiences of the pupils, is in demand. The excursion to places of interest in the neighborhood suggested by the story begins to be an important factor of the school exercises. As children grow older they acquire skill and confidence in oral narrative, and should be held to greater independence in oral reproductions.

One of the best school editions of "Robinson Crusoe" is published by Ginn & Co.

A simple edition for second grade is published by the Public School Publis.h.i.+ng Co.

The teacher should be supplied with one of the larger, fuller editions of "Robinson Crusoe," like that of Houghton, Mifflin, & Co., in the Riverside Literature Series. It furnishes a much fuller detail of knowledge for the teacher's use. It will also be of great advantage for cla.s.sroom use to possess an ill.u.s.trated edition like that of George Routledge & Sons.

The full treatment of this story, first in simple, oral narrative, later by its use as a reading book, and later still by the child reading the complete edition for himself in private, ill.u.s.trates the intensive concentration of thought and constructive activity upon a great piece of literature as opposed to a loose and superficial treatment. Such a piece of work should remain for life a source of deeper thought, feeling, and experience.

OTHER EDITIONS

Life and Adventures of Robinson Crusoe. American Book Co.

Robinson Crusoe. Lee and Shepard.

Robinson Crusoe for Youngest Readers. Educational Pub. Co.

Robinson Crusoe. University Publis.h.i.+ng Co.

De Foe's Robinson Crusoe (Hale). Ginn & Co.

De Foe's Robinson Crusoe. Maynard, Merrill, & Co.

"HIAWATHA"

The story of Hiawatha has been much used for oral treatment in primary grades, and as a basis for exercises in learning to read. Later the complete poem has been much read in third, fourth, or fifth grade as a piece of choice literature.

A story which is growing so rapidly in favor with primary teachers may explain our effort to determine its educational value.

That the story begins with the early childhood of Hiawatha and describes his home and early training at the feet of Nokomis, is at least one point in its favor.

By the sh.o.r.es of Gitche Gumee, By the s.h.i.+ning Big-Sea-Water, Stood the wigwam of Nokomis, Daughter of the Moon, Nokomis.

Dark behind it rose the forest, Rose the black and gloomy pine-trees, Rose the firs with cones upon them; Bright before it beat the water, Beat the clear and sunny water, Beat the s.h.i.+ning Big-Sea-Water.

There the wrinkled, old Nokomis Nursed the little Hiawatha, Rocked him in his linden cradle, Bedded soft in moss and rushes, Safely bound with reindeer sinews.

The traditions and stories he learned from the lips of Nokomis will remind children of their own home life, while his companions.h.i.+p with birds and animals will touch them in a sympathetic place.

Then the little Hiawatha Learned of every bird its language, Learned their names and all their secrets, How they built their nests in Summer, Where they hid themselves in Winter, Talked with them whene'er he met them, Called them "Hiawatha's Chickens."

The games and exercises of his youth will remind them of their own sports and introduce them to Indian life. This home of Hiawatha, and the description of his childhood, are a happy introduction to the simple surroundings of Indian life on the sh.o.r.es of the northern sea.

Primitive Indian modes of life, traditions and myths, appeal naturally to children, and the whole story has this setting of early simplicity which adapts it in many ways to child study. The Indian nature myths, which in themselves are attractive, are here woven into a connected series by their relation to Hiawatha in the training of his childhood and in the exploits of his manhood.

The number of pure fairy tales scattered through the story adapts it especially for young children, while the descriptions of home customs, feasts, weddings, merrymaking, and games, show the happier side of their life.

Ye who love a nation's legends, Love the ballads of a people, That like voices from afar off Call to us to pause and listen, Speak in tones so plain and childlike, Scarcely can the ear distinguish Whether they are sung or spoken;-- Listen to this Indian Legend, To this song of Hiawatha!

Ye whose hearts are fresh and simple, Who have faith in G.o.d and Nature, Who believe, that in all ages Every human heart is human, That in even savage bosoms There are longings, yearnings, strivings For the good they comprehend not, That the feeble hands and helpless, Groping blindly in the darkness, Touch G.o.d's right hand in that darkness, And are lifted up and strengthened;-- Listen to this simple story, To this Song of Hiawatha!

The description of husking time is such a pleasing scene, while the picture writing of the Indians, their totems and rude drawings, are in harmony with their traditions and religion.

On the border of the forest, Underneath the fragrant pine-trees, Sat the old men and the warriors Smoking in the pleasant shadow.

In uninterrupted silence Looked they at the gamesome labor Of the young men and the women; Listened to their noisy talking, To their laughter and their singing, Heard them chattering like the magpies, Heard them laughing like the blue jays, Heard them singing like the robins.

And whene'er some lucky maiden Found a red ear in the husking, Found a maize-ear red as blood is, "Nushka!" cried they all together, "Nushka! you shall have a sweetheart, You shall have a handsome husband!"

"Ugh!" the old men all responded From their seats beneath the pine-trees.

And the Jossakeeds, the Prophets, The Wabenos, the Magicians, And the Medicine-men, the Medas, Painted upon bark and deer-skin Figures for the songs they chanted, For each song a separate symbol, Figures mystical and awful, Figures strange and brightly colored; And each figure had its meaning, Each some magic song suggested.

One of the most striking features of this story is its setting in nature. More than any other piece of literature now used in the school, it is redolent of fields and forest.

Should you ask me, whence these stories, Whence these legends and traditions, With the odors of the forest, With the dew and damp of meadows, With the curling smoke of wigwams, With the rus.h.i.+ng of great rivers, With their frequent repet.i.tions, And their wild reverberations, As of thunder in the mountains?

I should answer, I should tell you, "From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fenlands, Where the heron, the Shuh-shuh-gah, Feeds among the reeds and rushes."

Should you ask where Nawadaha Found these songs, so wild and wayward, Found these legends and traditions, I should answer, I should tell you, "In the birds'-nests of the forest, In the lodges of the beaver, In the hoof-prints of the bison, In the eyry of the eagle!

All the wild-fowl sang them to him, In the moorlands and the fenlands, In the melancholy marshes; Chetowaik, the plover, sang them, Mahng, the loon, the wild-goose, Wawa, The blue heron, the Shuh-shuh-gah, And the grouse, the Mushkodasa!"