Craftsmanship in Teaching

And the first of these vows I shall call, for want of a better term, the vow of "artistry,"-the pledge that the initiate takes to do the work that his hand finds to do in the best possible manner, without reference to the effort that it may cost or to the reward that it may or may not bring.

I call this the vow of artistry because it represents the essential attitude of the artist toward his work. The cynic tells us that ideals are illusions of youth, and yet, the other day I saw expressed in a middle-aged working-man a type of idealism that is not at all uncommon in this world. He was a house painter; his task was simply the prosaic job of painting a door; and yet, from the pains which he took with that work, an observer would have concluded that it was, to the painter, the most important task in the world. And that, after all, is the true test of craft artistry: to the true craftsman the work that he is doing must be the most important thing that can be done. One of the best teachers that I know is that kind of a craftsman in education. A student was once sent to observe his work. He was giving a lesson upon the "attribute complement" to an eighth-grade grammar class. I asked the student afterward what she had got from her visit. "Why," she replied, "that man taught as if the very greatest achievement in life would be to get his pupils to understand the attribute complement,-and when he had finished, they did understand it."

In a narrower sense, this vow of artistry carries with it an appreciation of the value of technique. From the very fact of their normal school training, these graduates already possess a certain measure of skill, a certain mastery of the technique of their craft. This initial mastery has been gained in actual contact with the problems of school work in their practice teaching. They have learned some of the rudiments; they have met and mastered some of the rougher, cruder difficulties. The finer skill, the delicate and intangible points of technique, they must acquire, as all beginners must acquire them, through the strenuous processes of self-discipline in the actual work of the years that are to come. This is a process that takes time, energy, constant and persistent application. All that this school or any school can do for its students in this respect is to start them upon the right track in the acquisition of skill. But do not make the mistake of assuming that this is a small and unimportant matter. If this school did nothing more than this, it would still repay tenfold the cost of its establishment and maintenance. Three fourths of the failures in a world that sometimes seems full of failures are due to nothing more nor less than a wrong start. In spite of the growth of professional training for teachers within the past fifty years, many of our lower schools are still filled with raw recruits, fresh from the high schools and even from the grades, who must learn every practical lesson of teaching through the medium of their own mistakes. Even if this were all, the process would involve a tremendous and uncalled-for waste. But this is not all; for, out of this multitude of untrained teachers, only a small proportion ever recognize the mistakes that they make and try to correct them.

To you who are beginning the work of life, the mastery of technique may seem a comparatively unimportant matter. You recognize its necessity, of course, but you think of it as something of a mechanical nature,-an integral part of the day's work, but uninviting in itself,-something to be reduced as rapidly as possible to the plane of automatism and dismissed from the mind. I believe that you will outgrow this notion. As you go on with your work, as you increase in skill, ever and ever the fascination of its technique will take a stronger and stronger hold upon you. This is the great saving principle of our workaday life. This is the factor that keeps the toiler free from the deadening effects of mechanical routine. It is the factor that keeps the farmer at his plow, the artisan at his bench, the lawyer at his desk, the artist at his palette.

I once worked for a man who had accumulated a large fortune. At the age of seventy-five he divided this fortune among his children, intending to retire; but he could find pleasure and comfort only in the routine of business. In six months he was back in his office. He borrowed twenty-five thousand dollars on his past reputation and started in to have some fun. I was his only employee at the time, and I sat across the big double desk from him, writing his letters and keeping his accounts. He would sit for hours, planning for the establishment of some industry or running out the lines that would entangle some old adversary. I did not stay with him very long, but before I left, he had a half-dozen thriving industries on his hands, and when he died three years later he had accumulated another fortune of over a million dollars.

That is an example of what I mean by the fascination that the technique of one's craft may come to possess. It is the joy of doing well the work that you know how to do. The finer points of technique,-those little things that seem so trivial in themselves and yet which mean everything to skill and efficiency,-what pride the competent artisan or the master artist takes in these! How he delights to revel in the jargon of his craft! How he prides himself in possessing the knowledge and the technical skill that are denied the layman!

I am aware that I am somewhat unorthodox in urging this view of your work upon you. Teachers have been encouraged to believe that details are not only unimportant but stultifying,-that teaching ability is a function of personality, and not a product of a technique that must be acquired through the strenuous discipline of experience. One of the most skillful teachers of my acquaintance is a woman down in the grades. I have watched her work for days at a time, striving to learn its secret. I can find nothing there that is due to genius,-unless we accept George Eliot's definition of genius as an infinite capacity for receiving discipline. That teacher's success, by her own statement, is due to a mastery of technique, gained through successive years of growth checked by a rigid responsibility for results. She has found out by repeated trial how to do her work in the best way; she has discovered the attitude toward her pupils that will get the best work from them,-the clearest methods of presenting subject matter; the most effective ways in which to drill; how to use text-books and make study periods issue in something besides mischief; and, more than all else, how to do these things without losing sight of the true end of education. Very frequently I have taken visiting school men to see this teacher's work. Invariably after leaving her room they have turned to me with such expressions as these: "A born teacher!" "What interest!" "What a personality!" "What a voice!"-everything, in fact, except this,-which would have been the truth: "What a tribute to years of effort and struggle and self-discipline!"

I have a theory which I have never exploited very seriously, but I will give it to you for what it is worth. It is this: elementary education especially needs a literary interpretation. It needs a literary artist who will portray to the public in the form of fiction the real life of the elementary school,-who will idealize the technique of teaching as Kipling idealized the technique of the marine engineer, as Balzac idealized the technique of the journalist, as Du Maurier and a hundred other novelists have idealized the technique of the artist. We need some one to exploit our shop-talk on the reading public, and to show up our work as you and I know it, not as you and I have been told by laymen that it ought to be,-a literature of the elementary school with the cant and the platitudes and the goody-goodyism left out, and in their place something of the virility, of the serious study, of the manful effort to solve difficult problems, of the real and vital achievements that are characteristic of thousands of elementary schools throughout the country to-day.

At first you will be fascinated by the novelty of your work. But that soon passes away. Then comes the struggle,-then comes the period, be it long or short, when you will work with your eyes upon the clock, when you will count the weeks, the days, the hours, the minutes that lie between you and vacation time. Then will be the need for all the strength and all the energy that you can summon to your aid. Fail here, and your fate is decided once and for all. If, in your work, you never get beyond this stage, you will never become the true craftsman. You will never taste the joy that is vouchsafed the expert, the efficient craftsman.

The length of this period varies with different individuals. Some teachers "find themselves" quickly. They seem to settle at once into the teaching attitude. With others is a long, uphill fight. But it is safe to say that if, at the end of three years, your eyes still habitually seek the clock,-if, at the end of that time, your chief reward is the check that comes at the end of every fourth week,-then your doom is sealed.