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"In accordance with the spirit of this address, the teacher of German at a public school would be forced to call his pupil's attention to thousands of details, and with the absolute certainty of good taste, to forbid their using such words and expressions, for instance, as: 'beanspruchen,' 'vereinnahmen,' 'einer Sache Rechnung tragen,' 'die Initiative ergreifen,' 'selbstverstndlich,'[3] etc., cum tdio in infinitum. The same teacher would also have to take our classical authors and show, line for line, how carefully and with what precision every expression has to be chosen when a writer has the [Pg 49]correct feeling in his heart and has before his eyes a perfect conception of all he is writing. He would necessarily urge his pupils, time and again, to express the same thought ever more happily; nor would he have to abate in rigour until the less gifted in his class had contracted an unholy fear of their language, and the others had developed great enthusiasm for it.
"Here then is a task for so-called 'formal' education[4] [the education tending to develop the mental faculties, as opposed to 'material' education,[5] which is intended to deal only with the acquisition of facts, e.g. history, mathematics, etc.], and one of the utmost value: but what do we find in the public school—that is to say, in the head-quarters of formal education? He who understands how to apply what he has heard here will also know what to think of the modern public school as a so-called educational institution. He will discover, for instance, that the public school, according to its fundamental principles, does not educate for the purposes of culture, but for the purposes of scholarship; and, further, that of late it seems to have adopted a course which indicates rather that it has even discarded scholarship in favour of journalism as the object of its exertions. This can be clearly seen from the way in which German is taught.
"Instead of that purely practical method of instruction by which the teacher accustoms his pupils to severe self-discipline in their own language, we find everywhere the rudiments of a [Pg 50]historico-scholastic method of teaching the mother-tongue: that is to say, people deal with it as if it were a dead language and as if the present and future were under no obligations to it whatsoever. The historical method has become so universal in our time, that even the living body of the language is sacrificed for the sake of anatomical study. But this is precisely where culture begins—namely, in understanding how to treat the quick as something vital, and it is here too that the mission of the cultured teacher begins: in suppressing the urgent claims of 'historical interests' wherever it is above all necessary to do properly and not merely to know properly. Our mother-tongue, however, is a domain in which the pupil must learn how to do properly, and to this practical end, alone, the teaching of German is essential in our scholastic establishments. The historical method may certainly be a considerably easier and more comfortable one for the teacher; it also seems to be compatible with a much lower grade of ability and, in general, with a smaller display of energy and will on his part. But we shall find that this observation holds good in every department of pedagogic life: the simpler and more comfortable method always masquerades in the disguise of grand pretensions and stately titles; the really practical side, the doing, which should belong to culture and which, at bottom, is the more difficult side, meets only with disfavour and contempt. That is why the honest man must make himself and others quite clear concerning this quid pro quo.
"Now, apart from these learned incentives to a [Pg 51]study of the language, what is there besides which the German teacher is wont to offer? How does he reconcile the spirit of his school with the spirit of the few that Germany can claim who are really cultured,—i.e. with the spirit of its classical poets and artists? This is a dark and thorny sphere, into which one cannot even bear a light without dread; but even here we shall conceal nothing from ourselves; for sooner or later the whole of it will have to be reformed. In the public school, the repulsive impress of our sthetic journalism is stamped upon the still unformed minds of youths. Here, too, the teacher sows the seeds of that crude and wilful misinterpretation of the classics, which later on disports itself as art-criticism, and which is nothing but bumptious barbarity. Here the pupils learn to speak of our unique Schiller with the superciliousness of prigs; here they are taught to smile at the noblest and most German of his works—at the Marquis of Posa, at Max and Thekla—at these smiles German genius becomes incensed and a worthier posterity will blush.
"The last department in which the German teacher in a public school is at all active, which is often regarded as his sphere of highest activity, and is here and there even considered the pinnacle of public school education, is the so-called German composition. Owing to the very fact that in this department it is almost always the most gifted pupils who display the greatest eagerness, it ought to have been made clear how dangerously stimulating, precisely here, the task of the teacher must be. German composition makes an appeal to the individual, and [Pg 52]the more strongly a pupil is conscious of his various qualities, the more personally will he do his German composition. This 'personal doing' is urged on with yet an additional fillip in some public schools by the choice of the subject, the strongest proof of which is, in my opinion, that even in the lower classes the non-pedagogic subject is set, by means of which the pupil is led to give a description of his life and of his development. Now, one has only to read the titles of the compositions set in a large number of public schools to be convinced that probably the large majority of pupils have to suffer their whole lives, through no fault of their own, owing to this premature demand for personal work—for the unripe procreation of thoughts. And how often are not all a man's subsequent literary performances but a sad result of this pedagogic original sin against the intellect!
"Let us only think of what takes place at such an age in the production of such work. It is the first individual creation; the still undeveloped powers tend for the first time to crystallise; the staggering sensation produced by the demand for self-reliance imparts a seductive charm to these early performances, which is not only quite new, but which never returns. All the daring of nature is hauled out of its depths; all vanities—no longer constrained by mighty barriers—are allowed for the first time to assume a literary form: the young man, from that time forward, feels as if he had reached his consummation as a being not only able, but actually invited, to speak [Pg 53] and to converse. The subject he selects obliges him either to express his judgment upon certain poetical works, to class historical persons together in a description of character, to discuss serious ethical problems quite independently, or even to turn the searchlight inwards, to throw its rays upon his own development and to make a critical report of himself: in short, a whole world of reflection is spread out before the astonished young man who, until then, had been almost unconscious, and is delivered up to him to be judged.
