The C. L. S. C. as a Substitute for the College.
The C. L. S. C. has been called the “People’s College.” That it is
indeed a school for the thousands who pursue its course of study no
one has questioned. Some, however, of the more exact of speech might
doubt the propriety of applying the dignified name of college to an
institution of its character. We do not set up any claims on the ground
of derivation from the Latin verb _colligere_, to collect or bring
together, for then would the C. L. S. C. outrank all other colleges
in the world. Nor do we plead the right to use such a name because of
the scores of institutions chartered under the name of college, which
scarcely bear comparison for character and grade of instruction with
our academies and best high schools. Let us be content to speak of
plain, unpretentious C. L. S. C. as a substitute for the respectable
college.
The warmest enthusiast for the C. L. S. C. has never recommended it
to young men and women with means and opportunity to pursue a regular
college course. On the contrary it has been a claim from the beginning
that it tends to arouse in many a home the ambition to have son and
daughter enjoy the advantages of the college training. But to the
thousands of C. L. S. C. students to whom opportunity is past, or to
whom it never came for want of time and money, to those and other
thousands of well wishers it will be of interest to consider how and to
what extent the C. L. S. C. may be deemed a substitute.
It should be borne in mind that the college proper is entirely distinct
from the professional school. The former aims to give that general
and accurate knowledge and training which prepares for the work and
duties of life. The latter is wholly technical in its character. Now,
keeping this definition in view and comparing the C. L. S. C. with the
college, we shall see that each possesses its points of superiority
and inferiority. The college has facilities for taking the student of
physics and chemistry into apparatus-room and laboratory where he may
witness experiment and illustration of great practical value. The C.
L. S. C. student reaches the same facts and conclusions through the
cuts and explanations of text-books, supplemented in many cases by
experiments of his own, which, though rude, are often the most valuable
of all. All that acquaintance with the operations and formulæ of higher
mathematics which the college student with taste and talent for such
things may possess, the C. L. S. C. student does not have. But the
result wrought out through these higher mathematical processes with
all their various practical applications are brought to his knowledge.
The C. L. S. C. student does not have the benefit of a critical study
of Latin and Greek, but he gets through history and the literatures
of these languages as large an acquaintance with Greece and Rome.
Horace Greeley, when reminded of the impossibility of his obtaining a
good knowledge of the old classic authors because of his ignorance of
the languages in which they wrote, replied that he did not think it
necessary to eat a few feet of “lead pipe every day in order to get
a pint of Croton water.” Whatever may be the strength or weakness of
such reasoning it must be admitted that acquaintance with the thought
and feeling of mankind is the highest fruit of language study. This,
through faithful and scholarly translations, the C. L. S. C. student
receives.
In the departments of general history and English literature the C. L.
S. C. has a wider range and requires more than the college. It has its
special courses which correspond with the idea of elective studies in
the more advanced colleges of the times. The C. L. S. C. possesses,
too, the advantages of all the improved methods of instruction, so far
as circumstances will permit of their application: the lecture, the
text-book, the question and answer. The student may lose something by
reason of the long distance in miles between himself and the author
or lecturer who is his teacher, but he is somewhat compensated by the
better facilities which he possesses for the development of habits of
personal investigation and self-reliance. The C. L. S. C. is not the
college but in many features it is like the college. It is the best
substitute for it known.
Wagner.
The recent death of Richard Wagner removes from the world of art one,
the greatness of whose work it would be difficult to exaggerate. His
musical devotees, who are in every land, and who pay him the most
enthusiastic homage, regard his loss as irreparable. The art of music
has perhaps had no follower who in all respects was his equal. His
impression upon his age was deep, and his work will not soon pass away.
He died February 13, in Venice, where he was spending the winter. For
some years he had been accustomed, as the season of cold came on, to
seek the milder Italian climate.
May 22, 1813, in Leipsic, Wilhelm Richard Wagner was born, the youngest
of seven children. His father was an actuary of police, and died a few
months after the son’s birth. A step-father, Ludwig Geyer, a portrait
painter, who had once been an actor and a writer of plays, probably
helped in giving his mind a dramatic bent, but he also died when
Richard was but seven years old. Wagner, in his autobiography, tells
us that, though he early discovered a strong taste for music, he could
never learn to play well on the piano. His teacher in boyhood declared
that his making a player was quite out of the question, and the teacher
was right. His playing was never good. He was sent to school to prepare
for the regular university course; but here his time was largely spent
in verse-making, in studying the Greek and other tragedies, and writing
plays. He passed among his school fellows for one of bright mind, and
he excelled in literary work. Before he had reached his twelfth year
verses of his appeared in print. It was a memorable time with the
boy when a translation of Shakspere’s works fell into his hands. His
admiration for the great genius of English literature knew no bounds;
he studied English that he might read the plays in the original. He
became an earnest student of this master, and it was his delight to sit
at his feet. One of his biographers, speaking of this boyhood period,
says that “He projected an immense tragedy, which was a concoction
of ‘Hamlet’ and ‘King Lear,’ on an absurdly grand scale. Forty-two
men died in the earlier part of the play, and he was obliged to make
a number of them return as ghosts, in order to keep the last acts
sufficiently supplied with _dramatis personæ_.” Another event in his
life was his first hearing at a concert one of Beethoven’s symphonies.
The lad of fifteen was deeply moved, and a purpose to be a musician was
awakened in his soul. His friends had no faith in his musical gifts,
but finally allowed him to follow his inclination. He set to studying
music at a furious rate, and to composing music. He studied for a time
at the Thomas-schule at Leipsic, but in a desultory fashion at first,
from which he derived little good. At length, however, he put himself
under the instruction of Theodore Weinlig, cantor of this seminary,—a
thoroughly competent teacher,—and laid an excellent foundation for his
musical future. He became an adorer of Beethoven, as he had been—and
continued ever to be—of Shakspere. “I doubt,” wrote one musical critic,
“whether there ever was a young musician who knew Beethoven’s works
more thoroughly than Wagner at his eighteenth year. The master’s
overtures and larger instrumental compositions he had copied for
himself in score. He went to sleep with the sonatas and rose with the
quartettes; he sang the songs and whistled the concertos.”
The success of Wagner did not come speedily. He was forced to wait
a long time for the world’s appreciation. There were years in which
failure followed failure with him as a musical director and composer.
He struggled long with poverty. He received his share of ridicule. But
the time of his triumph came. His music has gone everywhere, and in
these last years people from all quarters of the globe have flocked
to the little Bavarian city where he had his home to listen to the
productions of his genius as rendered by the world’s first artists.
The coming of King Ludwig to the throne of Bavaria meant for Wagner
his needed opportunity. The young king believed in him and took him
under his protection. He could show the world at length the power
that was in him. And the world has acknowledged it, and crowned him
king in the realm of music. He founded a school; his theories were
new and revolutionary. And his school has triumphed; his theories, as
one has said, have “leavened the whole lump of European music.” His
great name was sought to add to the glory of our American Centennial
in 1876, and a portion of the music sung at the opening of the great
exhibition in Philadelphia was from his pen. He was more than a musical
composer. He was a matchless orchestral organizer and director. He
was possessed of exquisite dramatic insight. He was a poet of genuine
poetic gifts. He was a profound writer upon political and philosophical
subjects. And his writings upon music and the drama have had a great
influence. His literary works have been collected and published in an
edition of nine volumes, and show in their author a strangely versatile
genius. Some of his best known musical compositions are “Rienzi,”
“Tannhäuser,” “Lohengrin,” “Tristan und Isolde,” “Die Meistersinger,”
the four operas of the “Nibelungenring,” whose presentation enraptured
thousands attended at Baireuth—among whom were different crowned heads
of Europe—and “Parsifal” given last July at the same place with equal
or greater success. Wagner lived in his last years at Baireuth in royal
style. If fame, wealth, the homage of men could give man content, his
lot should have been one of satisfaction. Personally, he was a man of
strong will, of self-assertion, and of stubbornness—a man who could say
of others things harsh and severe. Among his friends, however, he was
amiable and often jolly. He was twice married. His first wife was not a
congenial partner, and was divorced. His second was the daughter of the
illustrious Liszt, and she survives him.
The Study of Art.
Within the last decade there has been in this country a marked increase
in the interest manifested in all matters pertaining to the fine arts.
Not only have amateur artists been multiplied all over the land, but
many persons who make no pretensions to the use of brush or chisel,
have applied themselves assiduously to the study of the history and
principles of art. Each succeeding year adds to the number.
Of late years, also, the facilities for such studies have been greatly
increased. In many of our universities and colleges departments of art
have been instituted and capable instructors secured to train such
students as desire to acquire thorough knowledge. In addition to this,
societies are to be found in most of our leading cities, which are
designed to encourage the study of art and afford great facilities to
those desiring to perfect themselves in its different departments. At
least one school of design has been established in this country, which
has already attracted many students. Instructions in oil and water
colors can be obtained in almost every town and hamlet in the land.
Opportunities are numerous and afford delightful and profitable pastime
for those who have leisure and capacity for such employments.
The study of art has been given suitable prominence in the course of
the C. L. S. C. Text-books, well written and beautifully illustrated,
have been prepared by persons in every way qualified for the task
they have undertaken. Numerous lectures on this subject, full of
entertainment and instruction, have been delivered on the Chautauqua
platform, while the Chautauqua Schools of Drawing and Modeling are each
year increasing in interest and attendance. A number of articles on
various departments of art have appeared in THE CHAUTAUQUAN, and its
future numbers will be enriched by many more.
The study of art in all its departments is worthy of the highest
commendation and encouragement, and is always productive of beneficial
results. It is ennobling and elevating in its tendencies. It is the
herald of a broader culture, of a greater refinement of taste and
manners, and a higher degree of civilization. Its practical results
will be made manifest in more beautifully built and more tastefully
adorned homes, in a truer æstheticism, and in a keener appreciation of
the beautiful in nature, life, and morals.
Increased study and admiration of a subject is always productive of
desire to possess and enjoy its works. The great acquisition of wealth
in recent years by the people of this country affords ample means to
gratify this noble desire awakened by this study. Hence the demand for
works of art has greatly increased, so that the artist who is able to
produce well-executed pictures or statues is sure of a profitable and
even lucrative employment. Genius in this realm, as well as elsewhere,
is rare; but patient and persistent effort on the part of any one
possessed of even moderate ability, will enable its possessor to attain
to sufficient excellence to insure a fair degree of success in an
artistic career.
It is true that works of art will always be, as regards the cost of
production, beyond the means of those in ordinary circumstances, but
not on this account should persons in the humble walks of life be
deterred from the study of art. The benefits received from such a
course of study are as sure to be obtained by the poorest as by the
richest. But while paintings and statuary may be too costly for the
many, photographs and engravings of the masters, both in painting and
sculpture, can be obtained for comparatively small sums. The humblest
and poorest need not be without the inspiration derived from the
marvelous designs of the great artists who, from age to age, have
delighted the world with their wonderful works.
Art galleries, which constitute one of the chief attractions of
European cities to cultured tourists, do not abound in our country,
but art exhibitions are occasionally within the reach of all, and
should be attended whenever possible by every one who desires to attain
proficiency in the study and knowledge of art.
Washington Irving.
A hundred years have gone since the birth of this genial writer, to
whom we owe so great a debt. The Irving centenary will occur on April
3, and this number of THE CHAUTAUQUAN affords a most fitting place for
Prof. Bruce’s eloquent lecture upon his writings. We would also make
room here for a résumé of his life and work.
The life of this favorite author is comprised between the dates April
3, 1783, and November 28, 1859. He lived reasonably long, and his
years were eminently fruitful. His birth-place was New York city,
and he died at his “Sunnyside” place, famous and beloved, on the
Hudson. His parents were English, which may partly account for the
warm side he ever had for the English people. He was the youngest of
several children. His early educational advantages were good, and
well improved. At the age of sixteen he entered upon the study of
law. The bent of his mind, however, was toward literature. As early
as 1802 he wrote for the press, and among other effusions a series
of articles in the _Morning Chronicle_, signed “Jonathan Oldstyle,”
came from his pen. In 1804 he was threatened with consumption, and
visited Europe in pursuit of health. At Rome he made the acquaintance
of the great painter, Washington Allston, with whom he set out to study
for an artist. The new passion, however, was short-lived. A trial of
three days satisfied him that he was not born to wield the brush. On
his return from his European trip he was admitted to the bar, but
instead of seeking law-practice he devoted his time to literary work.
The first of his published works which was important was the serial
“Salmagundi”—the joint production of his brother William, James K.
Paulding, and himself—the first number of which was issued in January,
1807. This humorous work, abounding in clever hits at persons and
things, was very successful, and was received with favor on the other
side of the Atlantic as well as at home. The exquisite “Knickerbocker’s
History of New York” soon followed, a burlesque which was taken for
veritable history by some rather dull readers, and gave offense to
certain descendants of the old Dutch families. Irving’s brother Peter
had some hand, though quite a subordinate part, in the construction of
this work. After the publication of “Knickerbocker,” nothing of much
importance came from his pen for a number of years. After his father’s
death, two of Irving’s brothers succeeded to his important mercantile
business, and he himself became a sleeping partner in the firm. In
1815 he again visited Europe. He became a resident of London. There he
found himself favorably known by his works, and became intimate with
many of the literary men of the day. The time came when his firm became
bankrupt, and he was obliged to take hold of literary work in earnest
for a livelihood. In 1820 “Geoffrey Crayon’s Sketch-Book” was published
in London, at the time it was also appearing in America. “Bracebridge
Hall” and “Tales of a Traveler” afterward appeared at intervals of two
years. In 1824 he was prepared to gratify a desire for travel, and he
proceeded to make a protracted tour of the continent. This finished,
he took up his residence in Spain, where he collected materials for
his “Life of Columbus,” “The Conquest of Granada,” and “The Alhambra,”
which works were published in the order named. In 1829 he returned to
London, and the second year following he received from the University
of Oxford the degree of LL.D. After an absence of seventeen years,
he returned to his native land in 1832. In this time he had become
a bright star in the world’s literary firmament. His countrymen,
proud of his great fame, extended to him a royal welcome. He built
“Sunnyside,” near Tarrytown, N. Y., where he loved to entertain his
literary and other friends, and here he passed the remaining years of
his life. His pen continued busy. The other works he gave to the world
are “Astoria,” “Captain Bonneville,” “Life of Goldsmith,” “Mahomet and
his Successors,” and “The Life of Washington.” The last work he had
just time to finish before sudden death commanded his pen to perpetual
silence.
Irving was the first American author to be known and admired in
Europe. He has remained in England the favorite among our writers. His
extended fame is well merited, and now that nearly a quarter-century
has gone since his death, it does not seem to wane. His writings
are to be admired for their classic English, their beauty of style,
their sweet and genial spirit, their sparkling humor, their pure and
noble thoughts. While he lived six hundred thousand volumes of his
works were sold in our land alone, and since his death their sale has
averaged more than thirty thousand volumes yearly. And such a token
of appreciation is no more than his due. In his personal character he
was one of the most estimable of men. His life was without reproach.
He lived and died in the Christian faith. He was a man of large
hospitality, and the most winning courtesy. His affections were strong
and his nature generous. He never married. A young lady, to whom in his
youth he was attached, was removed by death, and his heart was never
given to another. Well does the “Easy Chair” of _Harper_ call for the
erection of an Irving statue in Central Park. And it is most fitting
for the lovers of his writings, who are uncounted thousands, to pay
some observance to the centenary of this author, through whom it first
became known to the trans-Atlantic world that in America was the power
to produce a literature.