Essays on Education and Kindred Subjects

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Spencer Herbert. Essays on Education and Kindred Subjects

INTRODUCTION

ORIGINAL PREFACE

PART I – ON EDUCATION

WHAT KNOWLEDGE IS OF MOST WORTH?

INTELLECTUAL EDUCATION

MORAL EDUCATION

PHYSICAL EDUCATION

PART II

PROGRESS: ITS LAW AND CAUSE11

ON MANNERS AND FASHION15

ON THE GENESIS OF SCIENCE17

ON THE PHYSIOLOGY OF LAUGHTER19

ON THE ORIGIN AND FUNCTION OF MUSIC21

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The four chapters of which this work consists, originally appeared as four Review-articles: the first in the Westminster Review for July 1859; the second in the North British Review for May 1854; and the remaining two in the British Quarterly Review for April 1858 and for April 1859. Severally treating different divisions of the subject, but together forming a tolerably complete whole, I originally wrote them with a view to their republication in a united form; and they would some time since have thus been issued, had not a legal difficulty stood in the way. This difficulty being now removed, I hasten to fulfil the intention with which they were written.

That in their first shape these chapters were severally independent, is the reason to be assigned for some slight repetitions which occur in them: one leading idea, more especially, reappearing twice. As, however, this idea is on each occasion presented under a new form, and as it can scarcely be too much enforced, I have not thought well to omit any of the passages embodying it.

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Recognising thus the true position of aesthetics, and holding that while the cultivation of them should form a part of education from its commencement, such cultivation should be subsidiary; we have now to inquire what knowledge is of most use to this end – what knowledge best fits for this remaining sphere of activity? To this question the answer is still the same as heretofore. Unexpected though the assertion may be, it is nevertheless true, that the highest Art of every kind is based on Science – that without Science there can be neither perfect production nor full appreciation. Science, in that limited acceptation current in society, may not have been possessed by various artists of high repute; but acute observers as such artists have been, they have always possessed a stock of those empirical generalisations which constitute science in its lowest phase; and they have habitually fallen far below perfection, partly because their generalisations were comparatively few and inaccurate. That science necessarily underlies the fine arts, becomes manifest, à priori, when we remember that art-products are all more or less representative of objective or subjective phenomena; that they can be good only in proportion as they conform to the laws of these phenomena; and that before they can thus conform, the artist must know what these laws are. That this à priori conclusion tallies with experience, we shall soon see.

Youths preparing for the practice of sculpture have to acquaint themselves with the bones and muscles of the human frame in their distribution, attachments, and movements. This is a portion of science; and it has been found needful to impart it for the prevention of those many errors which sculptors who do not possess it commit. A knowledge of mechanical principles is also requisite; and such knowledge not being usually possessed, grave mechanical mistakes are frequently made. Take an instance. For the stability of a figure it is needful that the perpendicular from the centre of gravity – "the line of direction," as it is called – should fall within the base of support; and hence it happens, that when a man assumes the attitude known as "standing at ease," in which one leg is straightened and the other relaxed, the line of direction falls within the foot of the straightened leg. But sculptors unfamiliar with the theory of equilibrium, not uncommonly so represent this attitude, that the line of direction falls midway between the feet. Ignorance of the law of momentum leads to analogous blunders: as witness the admired Discobolus, which, as it is posed, must inevitably fall forward the moment the quoit is delivered.

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