The beginning of springtime, when the fleeting beauty of the outdoors sometimes overshadows the perpetual urgency of lessons, is a good time to be reading Charlotte Mason, who insisted that time spent outside is integral to the child's formation and education.
“There was once a little man called Niggle, who had a long journey to make. He did not want to go, indeed the whole idea was distasteful to him; but he could not get out of it. He knew he would have to start some time, but he did not hurry with his preparations”: so begins Tolkien’s short story “Leaf by Niggle.”
For classical educators striving to “integrate the disciplines,” music provides an invaluable instrument of integration. Music studies harmonize with every core discipline of the curriculum: the music of various periods vocalizes the movements of history, the formal structures of music correspond to the formal structures of poetry, the theory of music applies principles of mathematics, the physics of music makes audible the laws of science. Music even bridges education’s theoretical and technical divide, as it can be both contemplated with the mind and practiced with the hands.
“Good taste” is not, as most debates regarding the phrase assume, a term in the logical sense—a discreet idea signified by words. It will, for this reason, fare badly in argument; anyone who has tried for five minutes to defend the notion of “good taste” against the aesthetic relativist recalls the exasperating embarrassment of finding himself unable to define, let alone defend, the principle of which he nevertheless remains convinced.
My favorite nineteenth-century novel, George Eliot’s Middlemarch, spins its plot from this premise: What happens when a person of fervent ideals is born into a place and age that cannot support them?
Is it ethical to use a man’s emotions to persuade him?
In the electric atmosphere of today’s propagandistic politics, that question is charged. By and large, even teenagers expect that the vast majority of the campaigning, advertising, and peer-pressuring they will encounter is based solely on emotion; this is the definition of propaganda, of persuasion that is untrustworthy and manipulative. The haunting assumption that the persuasion directed at them respects neither people nor truth is one reason for teenage cynicism’s ubiquity.
Any essay has three most-important sentences, I tell my students—and nearly always, as I help them revise their papers, I suggest those three sentences be rewritten. Though good prose throughout an essay bolsters its ability to communicate and persuade, I’d wager many an essay stands or falls on these three sentences alone, for they are the ones that shape the reader’s experience of the essay and lodge in his memory of it; they are the ones by which he will decide whether what he has read matters to him or not.
During our Christmas visit to my husband’s family and the home where he grew up, we spent an afternoon rummaging through closets and sheds, stirring up dust and memories. Amongst the stowed-away treasures were his first “guitar,” carved by his grandpa from a piece of wood; the leather baseball mitt he donned every Saturday through years of Little League games; a fleet of toy cars; and about a half-a-dozen largish boxes of fishing tackle.
Nothing focuses my anticipation and sustains my contemplation so well throughout the Advent season as do daily readings. In keeping with traditions set by my family when I was little, I find that beginning or ending each day with a time to ponder the mysteries of the Incarnation binds all the other festivities of parties, music, festal foods, and flashy colors together into meaningful jubilation, when otherwise they would fall apart in overwrought frenzy.
For as long as I remember, I have turned to words to bestow names, and through them meaning, on my experiences. Yet for the past five weeks, since the birth of our first child, this chain of significance seems reversed: in every day with our baby boy, new experiences uncover treasures of meaning in words I thought I had already mined.
One of these words forms the central metaphor of the brief and beautiful Psalm 131:
Lord, my heart is not haughty, nor mine eyes lofty: neither do I exercise myself in great matters, or in things too high for me.