CONCLUDING REMARKS ON METHOD
In taking leave of the pedagogy of the subject it may be profitable
to review some of the principal features of the method advocated,
and add a few hints on minor topics not treated elsewhere.
The method herein laid down aims to present one principle at
a time; calls for specific preparation on the part of the
pupils; urges that there be definite grading of the difficulties
encountered by children in learning to read; advises strongly
against calling their attention to the vocal technique of
expression; and lastly, holds out the hope that the impression will
eventually find an outlet in true expression.
As at present taught, no distinction is drawn, in reading, between
the easy and the difficult, the simple and the complex. We trust
that in the suggestions of this book will be found at any rate a
partial solution of the difficulty.
It should be impressed upon pupils from the outset that they are
studying the thoughts and feelings of others that find expression
in words upon the printed page. They must discover the thoughts
behind the words and then express them; that is all there is to
reading.
While it is believed that the order of the steps as here outlined
is a rational one, it is not claimed that this order is hard and
fixed. In advanced classes, where the method has not been used
in the lower grades, the teacher should endeavor to discover the
particular weakness of his pupils, and use with them the step
most likely to produce the desired effect. Or if it is thought
advisable, he may start with the first step and cover all the
ground in one grade as fast as the pupils can absorb the spirit
of each step. But it must never be forgotten that carelessness
in reading is a habit not easily eradicated; and, further, that
because a pupil satisfactorily prepares a lesson in, let us say,
grouping, he will not necessarily have formed the habit of grouping
correctly. We are dealing with complicated psychical phenomena, and
until the eye, the memory, the voice, in fact, all the elements of
expression are thoroughly co-ordinated, we are in constant danger
of error.
The time deemed necessary in public schools to complete all the
steps, is about two years, beginning with the grade third or fourth
below the highest. Before the pupils reach that grade, the sole
effort of the teacher should be directed to making the reading
vital and meaningful. If this is done the work of subsequent
teachers will be relatively easy.
Avoid, and the admonition is repeated once more, talking to the
pupils about inflection, pause, and the like. These are instinctive
manifestations of mental states, and will appear when the
conditions are right.
Let the teacher not follow slavishly the order of lessons in the
regular reading book. Let him choose such selections or parts of
them as offer the best opportunity for practice where the class
most needs it. Let him further find extracts from outside sources
for class use. These may be written on the board or mimeographed.
It has been said that we must have a technique if we would read.
This may be granted; but it is equally to be granted that the
principal technique is mental, and, moreover, that, in the public
schools, our aim is to produce simple, natural, expressive readers,
not artistic actors and orators. There is, then, no necessity for
drills on inflection, time, modulation, and the like, as such. Give
the pupil all the drill that is necessary on the states of mind
producing these effects, but let us never separate the technique
from the mental condition that will find instinctive expression
in that technique.[14] Expression grows through expressing. If we
will bear this in mind, and present the right thoughts and emotions
to be expressed, at the right time, there should and will be no
difficulty.
It is suggested that, perhaps once a week, short extracts
be committed and recited before the class. There need be no
gesture, just simple saying. Such a procedure will give the pupil
confidence, develop his earnestness, improve his voice, and in
every way affect for good the reading spirit of the class. Where
a suitable selection can be found, it will be well to give a
stanza to each pupil. A word may be added about the recitations
that form so large a part of the closing exercises in our schools.
If the recitation were an honest, legitimate presentation of the
reading as taught in the school, there could be no objection to
it; but in most cases it is anything but this. Special teachers
are called in to “coach” the students, and the result is far from
satisfactory. A few lessons can seldom make a reader, and where
that plan partially succeeds, so much greater is the hypocrisy; for
the reading stands for the work of the school rather than for that
of an individual teacher. A true showing of the work of the school,
and one that would in time be heartily appreciated by parents,
would be to select the good readers (a few hints to them are all
that would be necessary), and let them, book in hand, read as they
would in class. If the class reading has been good, so will be the
individual reading; otherwise it has no business to parade under
false colors at public exercises.
To what extent shall pupils imitate? No fixed rule should be laid
down, but one might say that they should never attempt to imitate
inflections, pauses, rate of movement, and the like. On the
contrary, there seems to be much value in stimulating the pupils’
imagination by having the teacher read certain emotional passages
for them. They then may catch the spirit of the selection without
any conscious effort at imitation. There are many who train a class
to read in concert from imitation. The results of such training are
worse than baneful, leading only to inane, affected expression.
FOOTNOTES:
[7] Other examples should be found by the teacher. With a little
care much valuable material may be selected.
[8] From the introduction to the author’s “How to Read Aloud,”
which is out of print. All the essential features, however, are
included in the present work.
[9] The teacher should select the examples, not too many, and write
them on the board; or they may be selected from the reader. Drills
of this kind should be continued until correct habits are formed,
but should cease before the pupils become tired of them.
[10] The sources of most of the following excerpts are given in
order that the student may refer to the context when necessary.
It is urged, however, that, since the extracts are taken from
literature quite available, the teacher refer to the context as
often as possible.
[11] I. e., instant.
[12] A good example to illustrate succession of ideas.
[13] It would occupy too much space to insert the complete
poems mentioned in this chapter. These are all, however, easily
available, and it is hoped that the teacher will read them.
[14] A great deal of what seems to be unnecessary confusion exists
regarding the meaning of this term. It is used very freely to mean
not only mechanical facility, but also that facility plus the
knowledge of where and how to use it, a meaning which leads to
confusion. Technique is “a collective term for all that relates
to the purely mechanical part of either vocal or instrumental
performance. The technique of a performer may be perfect, and yet
his playing ... fail to interpret intelligibly the ideas of the
composer.” These words from the _Century Dictionary_ ought to
settle this misunderstanding effectually.
PART THREE
LITERARY INTERPRETATION