We hear sometimes of an action for damages against the unqualified medical practitioner, who has deformed a broken limb in pretending to heal it. But what about the hundreds of thousands of minds that have been deformed forever by the incapable pettifoggers who have pretended to form them?
I make mention of the race, as of the Yorkshire schoolmasters, in the past tense. Though it has not yet finally disappeared, it is dwindling daily. A long day’s work remains to be done about us in the way of education, Heaven knows; but great improvements and facilities toward the attainment of a good one have been furnished of late years.
This leaves no doubt in regard to the conscious purpose of Dickens in writing with definite educational plans.
Incidentally he discusses every phase of what is called the “new education.” He was the first and the greatest English student of Froebel, and his writings gave wings to the profound thought of the greatest philosopher of childhood. Froebel revealed the truth that feeling is the basis of thought. In harmony with this great psychological principle, it may fairly be claimed that the works of Dickens so fully aroused the heart of the civilized world to the wrongs inflicted on childhood, and the grievous errors committed in training children, as to prepare the minds of all who read his books for the conscious revelation of the imperfections of educational systems and methods, and the imperative need of radical educational reforms.
The intense feeling caused by the writings of Dickens prepared the way for the thought of Froebel. Dickens studied Froebel with great care. He was not merely a student of theoretical principles, but he was a very frequent visitor to the first kindergarten opened in England. Madame Kraus-Boelte, who assisted Madame Rongé in the first kindergarten opened in London, says in a recent letter: “I remember very distinctly the frequent visits made by Mr. Dickens to Madame Rongé’s kindergarten. He always appeared to be deeply interested, and would sometimes stay during the whole session.”
The description of the schools of the Stepney Union in the Uncommercial Traveller shows how keenly appreciative Dickens was of all true new ideals in educational work. These were charity schools conducted on an excellent system. The pupils worked at industrial occupations half of their school hours, and studied the other half. They were taught music, and the boys had military drill and naval training. They had no corporal punishment in these schools.
Dickens approved most heartily of everything he saw in his frequent visits to the schools of the Stepney Union except the work of one of the younger teachers, who would, in his opinion, have been better “if she had shown more geniality.” He commended the industrial work, the military training, the naval training, the music, the discipline without corporal punishment, and the intellectual brightness of the children. He pointed out at some length the difference in interest shown by the pupils in these schools and by the pupils in the school he himself attended when a boy, and drew the conclusion very definitely that shorter hours of study, with a variety of interesting operations, were much better for the physical and intellectual development of children than long hours spent in monotonous work.
The folly and wrong of trying to make children study beyond the fatigue point was never more clearly pointed out than by Dickens in the description of the school he attended when a boy, given as a contrast to the life and brightness and interest shown in the schools of the Stepney Union:
When I was at school, one of seventy boys, I wonder by what secret understanding our attention began to wander when we had pored over our books for some hours. I wonder by what ingenuity we brought on that confused state of mind when sense became nonsense, when figures wouldn’t work, when dead languages wouldn’t construe, when live languages wouldn’t be spoken, when memory wouldn’t come, when dulness and vacancy wouldn’t go. I can not remember that we ever conspired to be sleepy after dinner, or that we ever particularly wanted to be stupid, and to have flushed faces and hot, beating heads, or to find blank hopelessness and obscurity this afternoon in what would become perfectly clear and bright in the freshness of to-morrow morning. We suffered for these things, and they made us miserable enough. Neither do I remember that we ever bound ourselves, by any secret oath or other solemn obligation to find the seats getting too hard to be sat upon after a certain time; or to have intolerable twitches in our legs, rendering us aggressive and malicious with those members; or to be troubled with a similar uneasiness in our elbows, attended with fistic consequences to our neighbours; or to carry two pounds of lead in the chest, four pounds in the head, and several active bluebottles in each ear. Yet, for certain, we suffered under those distresses, and were always charged at for labouring under them, as if we had brought them on of our own deliberate act and deed.
It was therefore out of a full heart and an enriched mind that Dickens wrought the wonderful plots into which he wove the most advanced educational ideals of his time and of our time relating to the blighting influence of coercion, the divinity in the child, the recognition of freedom as the truest process and highest aim of education, the value of real sympathy, the importance of self-activity, the true reverence for the child leading to faith in it, the need of child study, the effect of joyousness on the child’s development, the benefits of play, the influence of nutrition, the ideal of community, the importance of the imagination as a basis for the best intellectual growth, the narrowness of utilitarianism, the absolute need of apperceptive centres to which shall be related the progressive enlargement and enrichment of feeling and thought throughout the life of the individual, the arrest of development and the sacrifice of power and life due to cramming, and the weakness of all educational systems and methods that regard fact-storing as the highest work of the teacher.
It has been said by critics of Dickens that he exaggerated the defects and errors in the characters of those whom he described. Two things should be kept in mind, however. Dickens usually described the worst, not the best types, and he was justified in revealing a wrong principle or practice in the strongest possible light, in order to make it more easily recognisable and more completely repugnant to the aroused feeling and startled thought of humanity. He was writing with the definite purpose of making the world so thoroughly hate the wrong in education and child training as to lead to definite practical reforms.
Dickens himself did not admit the justness of the charge of exaggeration. His coarsest, most ignorant, and most brutal teacher is Squeers, yet he says “Mr. Squeers and his school are faint and feeble pictures of an existing reality, purposely subdued and kept down lest they should be deemed impossible. There are upon record trials at law in which damages have been sought as a poor recompense for lasting agonies and disfigurements inflicted upon children by the treatment of the master in these places, involving such offensive and foul details of neglect, cruelty, and disease as no writer of fiction would have the boldness to imagine. Since the author has been engaged upon these Adventures he has received, from private quarters far beyond the reach of suspicion or distrust, accounts of atrocities, in the perpetration of which upon neglected or repudiated children these schools have been the main instruments, very far exceeding any that appear in these pages.”
Dickens discusses the charge of exaggeration in the preface to Martin Chuzzlewit. He says:
What is exaggeration to one class of minds and perceptions, is plain truth to another. That which is commonly called a long-sight, perceives in a prospect innumerable features and bearings nonexistent to a shortsighted person. I sometimes ask myself whether there may occasionally be a difference of this kind between some writers and some readers; whether it is always the writer who colours highly, or whether it