What Can Happen When You Sing Hymns

by Wendi Capehart

My eldest daughter and her husband have been singing with their kids forever.  Okay, not literally forever, as her kids are not very old- 5, 4, 3, and 1.  However, from the childrens' perspective it is forever, because she was singing hymns to them when they were still in the womb.  I have a vivid memory of her singing to her firstborn while he was being resuscitated after being born gray, limp, and unresponsive. I am positive he stayed with us to hear more of his mother's songs.

   Very recently this busy family has been working specifically on the hymn Trust and Obey. This mainly means they make sure to sing it every day in a more focused, intentional way. I could tell Trust and Obey was their current hymn because while the grandchildren were visiting me recently, they gathered themselves and their baby cousins together on my stairs and sang most of the hymn together, and my grandma heart was warmed to the core. Imagine the joy of hearing your small grandchildren spontaneously singing hymns together just for fun, because they want to.

A couple of days ago, the four year old unfortunately did not obey, and this resulted in an unplanned trip to the emergency room where she had to have a blood draw to determine just how dangerous her disobedience had been.  To be honest, it  was a pretty rough experience for them all, and perhaps especially for our small grand-daughter..

Her brother was born with a medical condition requiring regular blood draws, so she knows more about it than most four year old children.  When she saw the white-coated staff coming toward her, she knew what to expect, and she was upset. Her mama offered to sing to her to help her think about something else, and asked what song she would like Mommy to sing. 

She was still thinking about what song she wanted when the process began. It wasn't their fault- the ER room was swamped, and other patients were waiting.  The staff was as kind as possible, but they were forced to rush.  They began with back to back. simultaneous and brutal sticks- again, not their fault. She is not an easy stick.  It was at the moment this torture began that my grand-daughter  blurted out her answer to her mama's question- she sobbed out "Trust & Obey!" as the hymn she needed her mommy to sing.

Paul and Silas sang hymns in prison, and they were able to do that because they already knew hymns and were used to singing them.  She was able to come up with that hymn when she needed it because she already knew it.  It's a recent part of her family stock of songs. She endured while Mommy sang. But more was yet to come.  They took the finished blood draws and dashed out of the room so they could quickly get it to the lab and move on to other patients.  Not much later a nurse returned, saying, "Bad news. one of them clotted before they could analyze it. I'm afraid we need another draw."

Can you imagine how my little grand-daughter must have felt when she heard this?  What do you suppose she was thinking when  someone else came in and chatted gently with her while looking for another vein to jab in this petite morsel of a four year old?  

Would you believe that she was thinking of another hymn to sing and even choosing the order (she is a bit of a control freak at times)?

 While the nurse was searching for her vein, my nervous and fearful grand-daughter asked her Mama, "Can you sing Jesus Loves me & Trust & Obey? Sing Jesus Loves Me until she puts the needle in and then sing Trust and Obey."   She then started chatting with the nurse about this song her family listens to on the computer and then sing together at home, and how it goes... and she sang a good chunk of Trust and Obey on her own to the nurse.  My daughter tells me the nurse listened for a while and then said, "I just think it's so special that you sing with them like this! 

We are all very encouraged and inspired by this story, although the irony is not lost upon us that she had this opportunity to share this 'testimony' with the nurse precisely because she had not obeyed.  She is not a holier than thou, priggish miss who never does anything she shouldn't.  She is much more like the little girl in the Longfellow poem, the one with the curl in the middle of her forehead ('when she was good, she was very, very good, but when she was bad, she was horrid!')

There are many children, and adults, too, who might find deep comfort and sustenance in singing these old hymns in times of trial (or in expressing joy).  But they cannot, because they have never learned these hymns.  Some Christians don't really even see the point in learning hymns. It smacks of rote religion, I suppose, or perhaps it brings a faint whiff of fusty, musty, dead faith. I do not know why- I grew up in a family where a hymnal was a standard part of our 'things to do in the car' on trips and we sang hymns while doing dishes as naturally and easily as we argued over whose turn it was to do the dishes.  It may be something 'not done' any more, but that doesn't mean it's outdated and old fashioned.  It means we are cut off from our roots.

Is any among you happy?  .... merry? .... sing praises.... (James 5:13)

I will sing with my spirit, but I will also sing with my mind. (1 Corinthians 14:15)

...sing psalms, hymns, and spiritual songs with gratitude in your hearts to God. (Colossians 3:16)

Speak to one another with psalms, hymns, and spiritual songs. Sing and make music in your hearts to the Lord. Ephesians 5:19

About midnight, Paul and Silas were praying and singing hymns to God.  Acts 16:25

Matthew 26:30 And when they had sung an hymn, they went out into the mount of Olives.

 Regular singing, both personal and congregational, of Psalms and hymns and spiritual songs has been part of the Christian tradition from the dawn of Christianity. It is the birthright of every child from a believing family. But we, like Esau, have squandered our heritage for a mess of pottage, very much like Esau, in fact. Esau didn't want to bother to prepare or fetch his own food, and we don't think we need to sing our own songs any longer.  In fact, we think we can't because we don't sound like trained musicians and we don't have dub-step at home, so we might, at best, listen to somebody perform these songs once in a while.  Listening to a performance may lift our spirits, but Christianity is not a spectator sport. It's personal. It's intimate. It's relationship.  

We think the hymns that sustained the believers who went before us are  too hard, too old fashioned, out of date, irrelevant, especially to little children.   My grand-daughter is, of course, quite advanced for her years.  She is bright beyond her chronology.  Nevertheless, she is still only four years old.   She was near panic in a very frightening and painful situation, and yet, even in that traumatized state, she was encouraged, strengthened, and comforted by a hymn over 100 years old. In fact, it is the hymn that came to mind first for her.  This happened because she knew the hymn, because her parents did not decide for her that she could not relate to it or understand it.  

In a CM education we build relationships, develop good habits and nurture affinities to complex ideas and practices such as singing hymns, personally engaging in observation for nature study, poetry, art, and great books.  We do these things when the children are young so that these connections are already there for the children to draw on when they need them.   While God can, of course, work miracles, most often, he works with us where we are. Just the right hymn coming to mind when and where we need it is more likely to happen when those hymns are already a natural, integrated, whole part of our lives. 

Please. Sing with your children.

P.S. Grand-daughter's bloodwork all came back fine, and she left the ER saying to her mum, "I guess next time I should.... obey."

Thank-you to my oldest daughter for many things- permission to share this story and edit your words for an AO publication and for being the mother you are to those precious children, and for choosing the good man you did to father those darlings.  A big thank-you to all the mothers of my grandchildren, because you all sing hymns with your children regularly and you all have married good men, so a story like this could have come from any of you.

Charlotte Mason and the handicraft of making 'smyrna rugs'

Previously: http://archipelago7.blogspot.com/2016/08/handwork-and-crafts-from-cm-volume-1.html

Basically, I'm thinking latch-hook kit.

Ah- see also here for more info.

Handwork and Crafts from CM, Volume 1

I offer the following information in the spirit of scholarship and understanding, because I totally groove on discovering this stuff.  It really helps me flesh out what Mason meant, what her philosophy looked like in practice, when I find more specific and concrete examples like the information below.  When I see exactly what she did, it helps me come to a better understanding of what we  might do today to further the same goals.

If it might be fun and enriching and delightful to reproduce the same crafts in your home, by all means, please do, and share.  If, however, the reading of this post makes you beat your head against the wall while repeating a tired and harmful mantra about your own worthlessness as a CM mama, please, stop.  I am not sharing this to burden anybody.  Don't beat yourself up.


 In CM's volume one, page 315 on our website, we find:

"Handicrafts and Drills.––It is not possible to do more than mention two more important subjects––the Handicrafts and Drills––which should form a regular part of a child's daily life. For physical training nothing is so good as Ling's Swedish Drill, and a few of the early exercises are the reach of children under nine. Dancing, and the various musical drills, lend themselves to grace of movement, and give more pleasure, if less scientific training, to the little people.

The Handicrafts best fitted for children under nine seem to me to be chair-caning, carton-work, basket-work, Smyrna rugs, Japanese curtains, carving in cork, samplers on coarse canvas showing a variety of stitches, easy needlework, knitting (big needles and wool), etc. The points to be borne in mind in children's handicrafts are: (a) that they should not be employed in making futilities such as pea and stick work, paper mats, and the like; (b) that they should be taught slowly and carefully what they are to do; (c) that slipshod work should

vol 1 pg 316

not be allowed; (d) and that, therefore, the children's work should be kept well within their compass."

In the appendices of a 1906 edition of volume 1, page 389, we find this fleshed out a little more:

"Work.
 Six twigs of trees (not done before) in brushwork. For occasional use, Pour Dessiner Simplement, par V. ...

 Attend to garden (Aunt Mai's Annual, 1894).

Carton Work, by G. C. Hewitt (King & Sons, Halifax, 2s.) : make a pillar-box, a match-box, a pen-tray, and a vase.

Smyrna rugs (see Aunt Mai's Annual, 1894). Children make their own designs.

Self-Teaching Needlework Manual (Longmans, is.) : children to be exercised in stitches, pages 1-15. Use coarse canvas and wool ; then, coloured cotton and coarse linen."

Here is the pertinent section from Aunt Mai's Annual, 1894, which I was thrilled to discover online (it's lovely!).

(Keep in mind 1894 British prices are given for supplies.)
WHAT CAN WE MAKE?
JAPANESE CURTAINS.

THE educational advantages of this work are many ; it teaches carefulness, numeration, colour and design. Carefulness, in pushing the string through the bamboo ; numeration, in getting the right number on each string ; colour, in choosing the coloured reeds and beads ; and design, whether the alternate lines should be the same colour, or two and two, or two and three, etc.

The materials required for this work are :
1.  Bamboos or reeds, 2/9 per 100.
2. Beads, 10d. per 500.
3. A ball of string, 6d.
4. A bar of wood for each curtain.

The bamboos are supplied in bundles of 1000 tubes, and can be had in white, red, purple, green, yellow, etc. They are each three and a half inches long, and are hollow, so that the string easily slips through. The round beads are the best for the nursery, and can also be had in many colours.

A little four-year-old is very busy at present making a short curtain for the studio window, of cut green and yellow reeds, and bright yellow beads, and the effect is charming.

The bar of wood can be made by any local joiner for a few pence. This must be three-quarters of an inch broad and thick ; the length must vary according to the width of your windows. Holes must be bored through at regular intervals of half an inch, one from the other, and he had better stain it brown or black before the children begin to work.

The following lengths are those we have found to be most useful ; but each mother can measure and decide for herself whether the curtains must be longer or shorter.

1.  Cut the string into lengths of forty inches.
2. Thread a bead on to each piece of string, hold the bead in the middle, and tie once. This prevents the little fingers pulling the string out of its hole. To vary this, you can again place a bead on each side of the tied one.
3. Push one end of the string through the first hole in the rod, and the other through the second hole, leaving the bead or beads or. the top.
4. Thread four beads on the first string. This makes an effective border.
5. Thread one reed, one bead, one reed and so on, until four reeds are on. Then put a bead on and tie. The first row might be green.
6. Work the second row in the same way, substituting yellow reeds for the green ones.
7. Take another piece of string and thread one end through the third hole, and so on.
     A very effective and simple pattern can be worked in the following way:
After the string has been threaded through the two first holes put—1st row; 1 bead, 1 green reed, bead ; 1 yellow reed, bead ; green reed, bead ; 1 yellow reed

2nd row; 2 beads, the rest in the same order—green, yellow ; green, yellow.
3rd row; 3 beads; &c.
4th row; 4 beads, &c.
5th row; 5 beads, &c.
6th row ; 4 beads, &c.
7th row; 3 beads, and so on, until the child comes again to one bead, when she again begins the next row with two. "

What can we take from this? Breaking this down, it's essentially stringing beads and rods in a pattern, right?  Not just randomly, but for a specific project of some use.   But you could begin with a tin of beads and some string- a shoelace, perhaps.  Our disabled child used to 'string' beads on a pipe cleaner, which I had anchored a bead at the end so she could not pull it off.  A pipe cleaner was easier for her to handle.  When she had a pipecleaner of beads, I would bend it into a shape- a circle, a heart, a star.  one of my favourite Christmas ornaments is a bell shaped from a pipecleaner of beads she worked.  Our beads came from thrift shop finds- they used to be popular in macrame projects.

You could duplicate the window curtain, or make a door curtain as a family project- if you have a place where you could keep the project out for a while, safe from babies, each family member could work on their own string, or everybody could add whatever, as they have time.

You could make jewelry, elastic string and beads are fairly inexpensive (when we orphan-hosted, we made our four boys bracelets with our phone numbers on them using number beads, interspersed by coloured beads).  Youtube videos explaining how to tie these off abound.   You could make key chains or Christmas ornaments or cell phone charms or something to hang from a car rear view mirror.

Mainly, you want a project involving stringing beads in a simple pattern of the child's design, the more useful the better, keeping in mind that a beaded window curtain is our standard for useful here.  IOW, don't overthink the useful aspect.

Supplies are far more readily available to us than they were to mothers in CM's time, and not much more expensive in terms of real dollars.

Amazon has wooden cylinder beads, dark or light , round and oval beads of coloured wood, holes large and small (so does ebay, in an impossible variety of colours, shapes, sizes, in wood, plastic, glass and stone or clay).
You could use hemp cord or cotton embroidery thread.

You could even resort to macaroni.  Dye it by shaking in a bag with a few drops of rubbing alcohol and food coloring, spreading to dry on waxed paper.  I prefer more permanent supplies, and don't recommend macaroni jewelry.  But for early practice in stringing colored beads in a pattern, this may be an economical alternative.  I have a cupboard over my bathroom sink which is missing a door.  I am thinking a beading project to hang over a shelf or small cupboard indoors might be a useful way to display a child's beading craft while improving the appearance of a messy shelf or a bathroom cupboard missing a door.

Up next, the smyrna rug.

More here as well.

Happy Birthday, AO!

THIS is an occasion that calls for a party! We are dedicating the month of July to celebrating AmblesideOnline's 15th birthday. Please do come along! Bake a cake, light sparklers, sing a song, write a brilliant Broadway play in poetic meter and call it Ambleton... okay, so maybe not. But do come along and party with us!

The Value of The Perception of Beauty

Our FB Group has reached 10,000 members.  By way of celebration, we'd like to share another article from  volume 19 (1908) of the Parents' Review, which is not yet online.

The PR says this article is 'notes of a lecture by R. Catterson Smith.'  We are not told who took those notes, and the only author given is RCS himself.

R. Catterson Smith was a Victorian era artist who worked with William Morris and Burne-Jones on the Kelmscott Chaucer.  He also worked with Heywood Sumner and his group, and for a while was headmaster of Birmingham School of Arts and Crafts:

The History and Philosophy of Art Education, By Stuart Macdonald, page 292

You can read more of Sumner and his work here.

 Here is the article, or rather the 'notes' of his talk (where this talk was delivered, I do not know).  Keep in mind, because it is 'notes' of Catterson Smith' talks, the syntax and punctuation are irregular:

I SHALL say nothing new—I but echo what has been said by Ruskin and others. If new, it might be questioned. An ideal for our children—good, useful, beautiful. The Moral alone not sufficient. The Useful alone not sufficient. The Beautiful alone not sufficient. We want a full life. Do these three form an impossible ideal ? What could we substitute for them ?-— Respectable ? Rich ? Fashionable ? Do not fear high ideals—distrust the man who says “ Utopian ! ” Ruskin.

The brain, a highly sensitive receptacl - hundredth of a second photographic plate not so quick. The five senses are our means of contact with the world outside us. Small inlets, for light waves, sound waves, they are all touch in a way. Each of the senses supplies what the other four are deficient in. But by the combination of the five we get a broad idea of what things are. The eye supplies most of our information. Two of these have great arts dependent upon them—The ear art,  Music. The art of the eye—the resemblant arts, painting, sculpture, architecture, and all the lesser arts.

These arts have taken a prodigious time to evolve and are closely interwoven with human ideals, and must not be lightly thought of, as for amusement only. Each has played a great part in life. The art dependent on the eye, the greater part. I think music being a more abstract, less definite art, though, perhaps none the less potent, we must not forget the fable of the Trumpeter, who though he did not himself fight,  roused the fighting spirit in others by his music. We give a goal deal of the educational period of a child’s life to learning something of music. It is but a ghostly expression of the emotions-- a shadow of them. In teaching it we only teach accuracy of ear and vague feeling. We do not take children to the sea and draw their attention to the wave sounds, or into the woods to hear the Wind’s voice, and the chorus of birds in Spring.  Or make them listen to the modulations of the human voice from the musical point of view.

Though we know these are some of the sources of inspiration for the composer. We deal with the teaching of that art as if it were purely abstract. If it be purely abstract why have we Pastoral Symphonies Moonlight Sonatas, and Harmonious Blacksmiths ? Might we not gain if we studied the natural sounds definitely Composers teach us the unity of sounds embodying human emotions.

Music is not my subject however—I only introduce it to help in illustrating my subject. What I am anxious about is the training of the eye to see things truthfully. By learning first to see things truthfully we acquire the language which will help us to understand artists who will teach us to see things beautifully. Mediaeval artists painted with very limited eye vision. Turner with the very fullest.

Think of the abundance of beautiful things which nature has laid before us. I have often stood in the street to look at a fine sky, and felt inclined to cry out “ Look!” Can we see them without training? So far as the organ of sight goes, yes! But we do not see them consciously, so as get full pleasure from them. Compare the average person’s attempt to paint a leaf, with the trained person’s attempt. The average person is easily satisfied. Not so the trained person who sees more than he can give.

Considering not only what nature has given us to look at. but also the energy and money man spends in making things look nice, should we not spend a good deal of time in learning to appreciate them ?

If you take the general subjects in school you will see sight training is given a very poor place—reading, spelling, writing,  arithmetic, history, languages, geography, music, science- most of these are a burden of words to children. At the end may come drawing for one hour a week, and very often taught  by a teacher who does not know the value of it—-or who takes the value commonly set upon it, and who teaches it in quite the wrong way. Of course other subjects may be contributory to sight. Take Botany for instance. Drawing and painting are the best ways of getting the knowledge of a thing into the brain, We have done too much word-teaching, and should do more sight-teaching. Children usually like drawing and painting and it can be made a pleasant aid to teaching many subjects. Memory drawing is the best way of teaching children drawing. And it is the way they draw by nature. Know first, and draw after. The ordinary teacher who shows them how by doing, but instead should lead them on by exciting their observation. Aim at first hand observation. Show them how a little. Of course teachers should be able to do.

Children ought not to be encouraged in cleverness, so as to shine. Children are very fond of conventions, or clever tricks. These should be discouraged, as they hinder accurate observation. If a child is clever in a showy sense, that cleverness will not forsake it, should it later on become commercially valuable. But restraint is better than cleverness. Truth is what should be sought. It is the grownups who divert the child’s vision from the truth to untruth—or prejudiced vision. People like convention as a rule, often because they don’t know what truth is.

I have been speaking up to this of the getting of the knowledge of the appearance of things. While children are learning that, they may also be coming in contact with Art— i.e., learning to see things beautifully. But it should not be too advanced for them. What does learning to see things beautifully mean? The perception of unity and perfect types. The subject or story of a picture may not mean much—the unity or harmony of it is of greater value-Abraham and Isaac may teach unquestioning obedience to a higher power, but the value of such a picture by a great painter will depend on its unity more than upon its moral.

Looking at these unities continually. Unity enters into the habit of our thought, and we have the key to all the arts, and to the greatest of all arts, the art of life, the blending of all the complexities into one great unity. A hatred of muddle, a desire to have beautiful homes, and beautiful cities, a dislike to change and fashion, a liking for modest and beautiful clothing. The beautiful art of embroidery has been almost killed by the changes of fashion.

I SHALL say nothing new—I but echo what has been said by Ruskin and others. If new it might be questioned. An ideal for our children—good, useful, beautiful. The Moral alone not sufficient. The Useful alone not sufficient. The Beautiful alone not sufficient. We want a full life. Do these three form an impossible ideal ? What could we substitute for them ?-— Respectable ? Rich ? Fashionable ? Do not fear high ideals—distrust the man who says “ Utopian ! ” Ruskin.

The brain, a highly sensitive receptaclemhundredth of a second photographic plate not so quick. The five senses are our means of contact with the world outside us. Small inlets. for light waves, sound waves, they are all touch in a way. Each of the senses supplies what the other four are deficient in. But by the combination of the five we get a broad idea of uhaf things are. The eye supplies most of our information. Two of these have great arts dependent upon them—The ear art. Music. The art of the eye—the resemblant arts, painting, sculpture, architecture, and all the lesser arts.

These arts have taken a prodigious time to evolve. and are closely interwoven with human ideals, and must not be lightly thought of, as for amusement only. Each has played a great pait'in' life'.‘ The art dependent on the eye, the greater part. I think : music being a more abstract, less definite art, though, perhaps none the less potent, we must not forget the table of the Trumpeter, who though he did not himself tight. roused

the fighting spirit in others by his music. We give a goal deal of the educational period of a child’s life to learning something of music. It is but a ghostly expression of the emotions-- 3- Shadow of them. In teaching it we only teach accuracy of ear and vague feeling. We do not take children to the sea and

W -.. We- , WM draw their attention to the wave sounds, or into the woods?)

hear the Wind’s voice, and the chorus of birds in Spring, Or make them listen to the modulations of the human voice from the musical point of view. Though we know these are some 0, the sources of inspiration for the composer. We deal with the teaching of that art as if it were purely abstract. [i it be purely abstract why have we Pastoral Symphonies Moonlight Sonatas, and Harmonious Blacksmiths ? Might' We not gain if we studied the natural sounds definitely Composers teach us the unity of‘sounds embodying humgn emotions. A ,

Music is not my subject however—I only introduce it to help in illustrating my subject. What I am anxious aboutis the training of the eye to see things truthfully—~fully. By learning first to see things truthfully we acquire the language which will help us to understand artists who will teach us to see things beautifully. Mediaeval artists painted with very limited eye vision.» Turner with the very fullest.

Think of the abundance of beautiful things which nature has laid before 115,, I have often stood in the street to look at a fine sky, and felt inclined to cry out “ Look l.” Can we see them without training,p So far as the organ 'of sight goes, yes! But we do not see them consciously, so as get full pleasure from them. Compare the average person’s attempt to paint a leaf, with the trained person’s attempt. The average person is easily satisfied. Not so the trained person who sees more than he can give.

Considering not only what nature has given us to look at. but also the energy and money man spends in making things . look nice, should we not spend a good deal of time in learning * to appreciate them ?

If you take the general subjects in school you will see sight training is given a very poor place—reading, spelling, writing- arithmetic, history, languages, geography, music, sciencea most of these are a burden of‘words to children. At the end may come drawing for one hour a week, and very often taught I by a teacher who does not know the value of it—-or who takes the value commonly set upon it, and who teaches it in quite the wrong way. Of course other subjects may be contributory

to sight. Take Botany for instance. Drawing and painting

are the best ways of getting the knowledge of a thing into the brain, We have done too much word-teaching, and should do more sight-teaching. Children usually like drawing and painting and it can be made a pleasant aid to teaching many subjects. Memory drawing is the best way of teaching children drawing. And it is the way they draw by nature. Know first, and draw after. The ordinary teacher who shows them how by doing, but instead should lead them on by exciting their observation. Aim at first hand observation. Show them how a little. Of course teachers should be able to do.

Children ought not to be encouraged in cleverness, so as to shine. Children are very fond of conventions, or clever tricks. These should be discouraged, as they hinder accurate observa- tion. If a child is clever in a showy sense, that cleverness will not forsake it, should it later on become commercially valuable. But restraint is better than cleverness Truth is what should be sought. It is the grown’ups who divert the child’s vision from the truth to untruth—or prejudiced vision. People like convention as a rule, often because they don’t know what truth is.

I have been speaking up to this of the getting of the knowledge of the appearance of things. While children are learning that, they may also be coming in contact with Art— 110., learning to see things beautifully. But it should not be too advanced for them. What does learning to see things beautifully mean P The perception of unity and perfect types. The subject or story of a picture may not mean much—the unity or harmony of it is of_ greater value-Abraham and Isaac may teach unquestioning obedience to a higher power, but the value of such a picture by a great painter will depend on its unity more than upon its moral.

Looking at these unities continually. Unity enters into the habit of our thought, and we have the key to all the arts, and to the greatest of all arts, the art of life, the blending of all the complexities into one great unity. A hatred of muddle, a desire to have beautiful homes, and beautiful cities, 21 dislike to change and fashion, a liking for modest and beautiful clothing. The beautiful art of embroidery has been almost killed by the changes of fashion.

Without a love and understanding of art, ‘we shall never have beautiful life. Much effort as all know is now being made to improve the look of things, but it is not a general effort. Now to get this understanding time must be given, if you don’t insist upon it you will not get it, for science of some sort, or some other subject will be pushed in front of your children, with the idea of making them more practical citizens.

It may be thought science should hold a high place compared with art. But few of us can indulge in science. While every one of us have eyes and cannot help seeing. But we want instructed seeing.

-------------

I find it delightful that Miss Mason included somebody's notes on a lecture, much as we have highlighted various blogs about our recent conference.  But I find it a bit maddening that she does not say whose notes. I'm inclined to think they are hers, but I am not sure that holds water.

I really appreciate his point at the end- not every child, not every human being is cut out for a career in the sciences, or to 'do science' day to day at home.  Art study is far more accessible to everybody, yet strangely, we tend to considerate it somewhat of an elite subject. Few studies could be less 'elite.'

Edited to add: I don't mean science isn't valuable or important for every child.  I just find it ironic that a subject available to every child who can make a mark on a surface, who can see, or can touch a tree, a stone, a carved bit of wood is considered 'elite.'  Likewise, art and music are deeply human practices.  Every human culture known to us from the dawn of time has engaged in them in some form or other. In our day, the fact that so many consider them dispensable is rather a tragedy.

Old is new: on literature and Plutarch

by Anne White

from "The Teaching of English," by E.A. Abbott, 1868

The home-work should teach boys what is literature, the school-work what is thought. A beginning might be made with "Robinson Crusoe" and Byron's "Sennacherib," or some other short, intelligible, and powerful poem; then "Ivanhoe" and the "Armada"; then Plutarch's "Coriolanus"and the "Horatius Codes," Plutarch's "Julius Caesar" and Gray's "Ruin seize thee"; Plutarch's "Agis and Cleomenes" and the "Battle of Ivry"; then "Marmion"; then the "Allegro" and " Penseroso," or "Comus";  then (in the class in which those boys leave who are intended for commercial pursuits) Pope's "Iliad"; then part of the "Paradise Lost;" then part of the "Fairy Queen"; then Chaucer's "Knight's Tale" or Dante's "Inferno" (in English), or the "In  Memoriam," or some of the poems of Dryden, Pope, or Johnson...   A play of Shakespeare might be read during another term throughout almost every class in the school. Shakespeare and Plutarch's "Lives" are very devulgarizing books, and I should like every boy who leaves a middle-class school for business at the age of fifteen, suppose, or sixteen, to have read three or four plays of Shakespeare, three or four noble poems, and three or four nobly-written lives of noble Greeks and Romans. I should therefore like to see Plutarch's " Lives " in the hands of every English schoolboy; or, if it were necessary to make a selection, those biographies which best illustrate one's "duty toward one's country." 

T.S. Eliot Talk Source Notes: Anne White

by Anne White

A bibliography of sorts for the Deep in the Heart of AO talk "Ends and Beginnings: What I Learned From T.S. Eliot."

BOOKS

Russell Kirk, Eliot and His Age: T.S. Eliot's Moral Imagination in the Twentieth Century (Random House, 1971)

Helen Gardner, The Art of T.S. Eliot: A searching evaluation of Eliot's masterpiece, Four Quartets (Dutton Paperback, 1950)

Selected Prose of T.S.Eliot, edited and with an introduction by Frank Kermode

T.S. Eliot, Collected Poems 1909-1962

Four Quartets, various editions

The Waste Land, at Project Gutenberg

The Illustrated Old Possum: Old Possum's Book of Practical Cats, by T.S. Eliot

ARTICLES

"Somerset: Why Tom Loved the Last Word" (Telegraph article by Anthony Gardner)

"Why Walking Through a Doorway Makes You Forget" (Scientific American)

"Why you forget what you came for when you enter the room" (MindHacks)

"10 Ways You Can Have Enough Money and Stuff" (BeMoreWithLess website)

FILMS

Muscle Shoals (2013) (conversation with Gregg Allman)

Seymour: An Introduction (2014)

ONLINE VIDEOS

Anthony Hopkins reading "The Love Song of J. Alfred Prufrock"

Alec Guinness reading Four Quartets

Paul Scofield reading Four Quartets (multiple videos; the link is to "Burnt Norton II" because "Burnt Norton I" seems to be missing)

T.S. Eliot reading Four Quartets