of such indeterminate contacts will create chaos within the mind of the child; pre-determined contacts will, on the other hand, initiate order therein, because with the help of the technique of isolation, they will begin to make him distinguish one thing from another.
The technique of our lessons is governed by experimental psychology. And this trend, without doubt, is in contrast to that of the past, which was governed by speculative psychology, on which the whole of the educational methods commonly in use in schools has hitherto been based.
It was Herbart who used the philosophical psychology of his day as a guiding principle to reduce pedagogic rules to a system. From his individual experience he believed he could deduce a universal method of developing the mind, and be made this the psychological basis of methods of teaching. The German pedagogist, whose methods are now, thanks to Credaro, formerly Professor of Pedagogy at the University of Rome, and afterward Minister of Education, adopted for elementary education throughout Italy, gave a unique type of lesson on the four well-known periods (the formal steps): clarity, association, system, method. These may be explained approximately as follows: presentation of an object and its analytical examination (clarity); judgment and comparison with other surrounding objects or with mnemonic images (association); definition of the object deduced from preceding judgments (system); new principles derived from the idea which is thus deepened, and which will lead to practical application of a moral order (method).
The teacher must guide the child's mind on these lines in every kind of teaching; he must, however, never substitute his own intelligence for that of the child, but rather make the child himself think, and induce him to exercise his own activity. For instance, in the association period, the master must not say: "Look at such and such an object, and at such and such another; see how much alike they are, etc. … " He should ask the pupil: "What do you see when you look around? Is there not something which is like, etc.?" Again, in the definition period, the master should not say: "A bird is a vertebrate animal covered with feathers; it has two limbs which have been transformed into wings," but by rapid questions, corrections, and analogies, he should induce the child to find the precise definition for himself. If the mental process of Herbart's four periods is to come naturally, it would be essential that great interest in the object should exist; it is interest which would keep the mind amused, or, as the famous pedagogist would say, plunged in the idea, and would maintain it in a system nevertheless embracing multilateral ideas; and hence it is necessary that "interest" should be awakened and should persist in all instruction. It is well known that a pupil of Herbart's must, to this end, supplement Herbart's four periods by a prior period, that of interest; linking all new knowledge to the old, "going from the known to the unknown," because what is absolutely new can awake no interest.
"To make oneself interesting artificially," that is, interesting to those who have no interest in us, is indeed a very difficult task; and to arrest the attention hour after hour, and year after year, not of one, but of a multitude of persons who have nothing in common with us, not even years, is indeed a superhuman undertaking. Yet this is the task of the teacher, or, as he would say, his "art": to make this assembly of children whom he has reduced to immobility by discipline follow him with their minds, understand what he says, and learn; an internal action, which he cannot govern, as he governs the position of their bodies, but which he must win by making himself interesting, and by maintaining this interest. "The art of tuition," says Ardigo, "consists mainly of this: to know up to what point and in what manner one can maintain the interest of pupils. The most skilful teachers are those who never fatigue one fraction of the pupil's brain, but act in such a manner that his attention, turning now here, now there, may rest itself and, gaining strength, return to the principal argument of the discourse with renewed vigor."
A much more laborious art is that which leads the child to find by means of its own mental processes, not what it would naturally find, but what the teacher desires, although he does not say what he desires; he urges on the child to associate his ideas "spontaneously"—as the teacher associates them—and even succeeds in making the child compose definitions with the exact words he himself has fixed upon, without having revealed them. Such a thing would seem the result of some occult science, a kind of conjuring trick. Nevertheless, such methods have been and still are in use, and in some cases they form the sole art of the teacher.
When in 1862 Tolstoy was making his tours of inspection in the schools of Germany, he was struck by this method of tuition, and among the pedagogic writings describing his school, Iasnaja Poliana, he reproduces a lesson which deserves to be recorded, although perhaps it would no longer be possible to find an example of such a lesson in any German school.
Iasnaja Poliana, 1862.
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