Part 17

1. _Lack of Early School Training._—Here is a real difficulty which many Sunday-school teachers and others _feel_. Unquestionably, however, they too much magnify it. An undertaking may be difficult and yet possible. Its difficulty may be over-estimated. A lack of early or the best school training, seriously affects one’s future success in letters or in art. But if there be will and energy and perseverance in a man, these will go far toward insuring his success, while he who has them not will surely fail though blessed with every advantage of school and teacher.

Elihu Burritt, blacksmith, learned eighteen languages and twenty-two dialects, because he _would_ learn them, not because he had early scholastic advantages.

Shakspere says,

“It is not in our stars But in ourselves, that we are underlings.”

2. _Lack of Time._—With busy pastors, superintendents and teachers, this difficulty is a _real_ one. Nevertheless we may hint to _some_ pastors that their busy-ness is largely misdirected. It is certain there is time enough to do all that God wants you or needs you to do. But to elaborate the sixth topic of a thirty minute discourse upon the anvil of three weeks’ time, and to do nothing else must be pronounced at least doubtfully wise or valuable. Or, to “run in and see” the mince-pie making Martha or the floor-scrubbing Patience or the boudoir-adorning Evelyn and her æsthetic sister Elsie, and to do nothing else, may please the dear creatures and make one the most popular pastor for the village ages, but is _this_ wise or valuable?

[Hint. _They who “run in” may “run out.”_] A New York _Sun_ reporter in describing the proceedings of the last Democratic State Convention, coined a new word,—not elegant indeed, but extremely expressive. “The Hon. —— arose and proceeded to _peppersauce himself_ all over the convention.” Certainly this is a most emphatic use of the middle form of a noun-verb, and is indefinitely suggestive of the very action and _distributive energy_ of the Hon. ——’s speech as well as of the speecher. The _number_ of parish calls made per year is not the only measure of a pastor’s value to his church. We must have the _qualis_ as well as _quantus_ of his work if we would make a fair test of values. But the quantity of this work is the very consumption of time. Probably you could both learn Greek and make better pastoral calls if you should refrain from distributing yourself so continuously over the parish. Wesley’s rule, “Be diligent. Never be unemployed. Never be _triflingly_ employed. Neither spend more time at any place than is strictly necessary,” is one of universal wisdom. Kirke White learned Greek while walking to and from a lawyer’s office.

A nail cutter was at work cutting nails at his machine in the mill; the long stick that held his pincers was grasped in his right hand and the other end of it, running between his side and elbow, was slung in a cord pendent from the floor above. The red-hot nail plates glowed in the fire, ready to be seized one by one in the pincers, as the workman finished feeding the last one into the closing jaws of the machine. Only a minute’s time and a single nail plate—turned for every nail by the deft hand of the skilled artisan, and fed accurately, became nails. The workman was so adjusted in mental tether to his work that the jaws never closed upon the iron pincers. With a single motion the refuse bit within the pincers fell amongst its fellow scraps, and a new plate began its course. And all the while _the workman was reading a book_. The babel of two hundred crunching jaws around availed nothing to disturb him. He’d planned to save time. He didn’t mean to become machinery or a machine. _That man could learn Greek._

[To be continued.]

EDITOR’S OUTLOOK.

The C. L. S. C. as a Substitute for the College.

The C. L. S. C. has been called the “People’s College.” That it is indeed a school for the thousands who pursue its course of study no one has questioned. Some, however, of the more exact of speech might doubt the propriety of applying the dignified name of college to an institution of its character. We do not set up any claims on the ground of derivation from the Latin verb _colligere_, to collect or bring together, for then would the C. L. S. C. outrank all other colleges in the world. Nor do we plead the right to use such a name because of the scores of institutions chartered under the name of college, which scarcely bear comparison for character and grade of instruction with our academies and best high schools. Let us be content to speak of plain, unpretentious C. L. S. C. as a substitute for the respectable college.

The warmest enthusiast for the C. L. S. C. has never recommended it to young men and women with means and opportunity to pursue a regular college course. On the contrary it has been a claim from the beginning that it tends to arouse in many a home the ambition to have son and daughter enjoy the advantages of the college training. But to the thousands of C. L. S. C. students to whom opportunity is past, or to whom it never came for want of time and money, to those and other thousands of well wishers it will be of interest to consider how and to what extent the C. L. S. C. may be deemed a substitute.

It should be borne in mind that the college proper is entirely distinct from the professional school. The former aims to give that general and accurate knowledge and training which prepares for the work and duties of life. The latter is wholly technical in its character. Now, keeping this definition in view and comparing the C. L. S. C. with the college, we shall see that each possesses its points of superiority and inferiority. The college has facilities for taking the student of physics and chemistry into apparatus-room and laboratory where he may witness experiment and illustration of great practical value. The C. L. S. C. student reaches the same facts and conclusions through the cuts and explanations of text-books, supplemented in many cases by experiments of his own, which, though rude, are often the most valuable of all. All that acquaintance with the operations and formulæ of higher mathematics which the college student with taste and talent for such things may possess, the C. L. S. C. student does not have. But the result wrought out through these higher mathematical processes with all their various practical applications are brought to his knowledge. The C. L. S. C. student does not have the benefit of a critical study of Latin and Greek, but he gets through history and the literatures of these languages as large an acquaintance with Greece and Rome. Horace Greeley, when reminded of the impossibility of his obtaining a good knowledge of the old classic authors because of his ignorance of the languages in which they wrote, replied that he did not think it necessary to eat a few feet of “lead pipe every day in order to get a pint of Croton water.” Whatever may be the strength or weakness of such reasoning it must be admitted that acquaintance with the thought and feeling of mankind is the highest fruit of language study. This, through faithful and scholarly translations, the C. L. S. C. student receives.

In the departments of general history and English literature the C. L. S. C. has a wider range and requires more than the college. It has its special courses which correspond with the idea of elective studies in the more advanced colleges of the times. The C. L. S. C. possesses, too, the advantages of all the improved methods of instruction, so far as circumstances will permit of their application: the lecture, the text-book, the question and answer. The student may lose something by reason of the long distance in miles between himself and the author or lecturer who is his teacher, but he is somewhat compensated by the better facilities which he possesses for the development of habits of personal investigation and self-reliance. The C. L. S. C. is not the college but in many features it is like the college. It is the best substitute for it known.

Wagner.

The recent death of Richard Wagner removes from the world of art one, the greatness of whose work it would be difficult to exaggerate. His musical devotees, who are in every land, and who pay him the most enthusiastic homage, regard his loss as irreparable. The art of music has perhaps had no follower who in all respects was his equal. His impression upon his age was deep, and his work will not soon pass away. He died February 13, in Venice, where he was spending the winter. For some years he had been accustomed, as the season of cold came on, to seek the milder Italian climate.

May 22, 1813, in Leipsic, Wilhelm Richard Wagner was born, the youngest of seven children. His father was an actuary of police, and died a few months after the son’s birth. A step-father, Ludwig Geyer, a portrait painter, who had once been an actor and a writer of plays, probably helped in giving his mind a dramatic bent, but he also died when Richard was but seven years old. Wagner, in his autobiography, tells us that, though he early discovered a strong taste for music, he could never learn to play well on the piano. His teacher in boyhood declared that his making a player was quite out of the question, and the teacher was right. His playing was never good. He was sent to school to prepare for the regular university course; but here his time was largely spent in verse-making, in studying the Greek and other tragedies, and writing plays. He passed among his school fellows for one of bright mind, and he excelled in literary work. Before he had reached his twelfth year verses of his appeared in print. It was a memorable time with the boy when a translation of Shakspere’s works fell into his hands. His admiration for the great genius of English literature knew no bounds; he studied English that he might read the plays in the original. He became an earnest student of this master, and it was his delight to sit at his feet. One of his biographers, speaking of this boyhood period, says that “He projected an immense tragedy, which was a concoction of ‘Hamlet’ and ‘King Lear,’ on an absurdly grand scale. Forty-two men died in the earlier part of the play, and he was obliged to make a number of them return as ghosts, in order to keep the last acts sufficiently supplied with _dramatis personæ_.” Another event in his life was his first hearing at a concert one of Beethoven’s symphonies. The lad of fifteen was deeply moved, and a purpose to be a musician was awakened in his soul. His friends had no faith in his musical gifts, but finally allowed him to follow his inclination. He set to studying music at a furious rate, and to composing music. He studied for a time at the Thomas-schule at Leipsic, but in a desultory fashion at first, from which he derived little good. At length, however, he put himself under the instruction of Theodore Weinlig, cantor of this seminary,—a thoroughly competent teacher,—and laid an excellent foundation for his musical future. He became an adorer of Beethoven, as he had been—and continued ever to be—of Shakspere. “I doubt,” wrote one musical critic, “whether there ever was a young musician who knew Beethoven’s works more thoroughly than Wagner at his eighteenth year. The master’s overtures and larger instrumental compositions he had copied for himself in score. He went to sleep with the sonatas and rose with the quartettes; he sang the songs and whistled the concertos.”

The success of Wagner did not come speedily. He was forced to wait a long time for the world’s appreciation. There were years in which failure followed failure with him as a musical director and composer. He struggled long with poverty. He received his share of ridicule. But the time of his triumph came. His music has gone everywhere, and in these last years people from all quarters of the globe have flocked to the little Bavarian city where he had his home to listen to the productions of his genius as rendered by the world’s first artists. The coming of King Ludwig to the throne of Bavaria meant for Wagner his needed opportunity. The young king believed in him and took him under his protection. He could show the world at length the power that was in him. And the world has acknowledged it, and crowned him king in the realm of music. He founded a school; his theories were new and revolutionary. And his school has triumphed; his theories, as one has said, have “leavened the whole lump of European music.” His great name was sought to add to the glory of our American Centennial in 1876, and a portion of the music sung at the opening of the great exhibition in Philadelphia was from his pen. He was more than a musical composer. He was a matchless orchestral organizer and director. He was possessed of exquisite dramatic insight. He was a poet of genuine poetic gifts. He was a profound writer upon political and philosophical subjects. And his writings upon music and the drama have had a great influence. His literary works have been collected and published in an edition of nine volumes, and show in their author a strangely versatile genius. Some of his best known musical compositions are “Rienzi,” “Tannhäuser,” “Lohengrin,” “Tristan und Isolde,” “Die Meistersinger,” the four operas of the “Nibelungenring,” whose presentation enraptured thousands attended at Baireuth—among whom were different crowned heads of Europe—and “Parsifal” given last July at the same place with equal or greater success. Wagner lived in his last years at Baireuth in royal style. If fame, wealth, the homage of men could give man content, his lot should have been one of satisfaction. Personally, he was a man of strong will, of self-assertion, and of stubbornness—a man who could say of others things harsh and severe. Among his friends, however, he was amiable and often jolly. He was twice married. His first wife was not a congenial partner, and was divorced. His second was the daughter of the illustrious Liszt, and she survives him.

The Study of Art.

Within the last decade there has been in this country a marked increase in the interest manifested in all matters pertaining to the fine arts. Not only have amateur artists been multiplied all over the land, but many persons who make no pretensions to the use of brush or chisel, have applied themselves assiduously to the study of the history and principles of art. Each succeeding year adds to the number.

Of late years, also, the facilities for such studies have been greatly increased. In many of our universities and colleges departments of art have been instituted and capable instructors secured to train such students as desire to acquire thorough knowledge. In addition to this, societies are to be found in most of our leading cities, which are designed to encourage the study of art and afford great facilities to those desiring to perfect themselves in its different departments. At least one school of design has been established in this country, which has already attracted many students. Instructions in oil and water colors can be obtained in almost every town and hamlet in the land. Opportunities are numerous and afford delightful and profitable pastime for those who have leisure and capacity for such employments.

The study of art has been given suitable prominence in the course of the C. L. S. C. Text-books, well written and beautifully illustrated, have been prepared by persons in every way qualified for the task they have undertaken. Numerous lectures on this subject, full of entertainment and instruction, have been delivered on the Chautauqua platform, while the Chautauqua Schools of Drawing and Modeling are each year increasing in interest and attendance. A number of articles on various departments of art have appeared in THE CHAUTAUQUAN, and its future numbers will be enriched by many more.

The study of art in all its departments is worthy of the highest commendation and encouragement, and is always productive of beneficial results. It is ennobling and elevating in its tendencies. It is the herald of a broader culture, of a greater refinement of taste and manners, and a higher degree of civilization. Its practical results will be made manifest in more beautifully built and more tastefully adorned homes, in a truer æstheticism, and in a keener appreciation of the beautiful in nature, life, and morals.

Increased study and admiration of a subject is always productive of desire to possess and enjoy its works. The great acquisition of wealth in recent years by the people of this country affords ample means to gratify this noble desire awakened by this study. Hence the demand for works of art has greatly increased, so that the artist who is able to produce well-executed pictures or statues is sure of a profitable and even lucrative employment. Genius in this realm, as well as elsewhere, is rare; but patient and persistent effort on the part of any one possessed of even moderate ability, will enable its possessor to attain to sufficient excellence to insure a fair degree of success in an artistic career.

It is true that works of art will always be, as regards the cost of production, beyond the means of those in ordinary circumstances, but not on this account should persons in the humble walks of life be deterred from the study of art. The benefits received from such a course of study are as sure to be obtained by the poorest as by the richest. But while paintings and statuary may be too costly for the many, photographs and engravings of the masters, both in painting and sculpture, can be obtained for comparatively small sums. The humblest and poorest need not be without the inspiration derived from the marvelous designs of the great artists who, from age to age, have delighted the world with their wonderful works.

Art galleries, which constitute one of the chief attractions of European cities to cultured tourists, do not abound in our country, but art exhibitions are occasionally within the reach of all, and should be attended whenever possible by every one who desires to attain proficiency in the study and knowledge of art.

Washington Irving.

A hundred years have gone since the birth of this genial writer, to whom we owe so great a debt. The Irving centenary will occur on April 3, and this number of THE CHAUTAUQUAN affords a most fitting place for Prof. Bruce’s eloquent lecture upon his writings. We would also make room here for a résumé of his life and work.

The life of this favorite author is comprised between the dates April 3, 1783, and November 28, 1859. He lived reasonably long, and his years were eminently fruitful. His birth-place was New York city, and he died at his “Sunnyside” place, famous and beloved, on the Hudson. His parents were English, which may partly account for the warm side he ever had for the English people. He was the youngest of several children. His early educational advantages were good, and well improved. At the age of sixteen he entered upon the study of law. The bent of his mind, however, was toward literature. As early as 1802 he wrote for the press, and among other effusions a series of articles in the _Morning Chronicle_, signed “Jonathan Oldstyle,” came from his pen. In 1804 he was threatened with consumption, and visited Europe in pursuit of health. At Rome he made the acquaintance of the great painter, Washington Allston, with whom he set out to study for an artist. The new passion, however, was short-lived. A trial of three days satisfied him that he was not born to wield the brush. On his return from his European trip he was admitted to the bar, but instead of seeking law-practice he devoted his time to literary work. The first of his published works which was important was the serial “Salmagundi”—the joint production of his brother William, James K. Paulding, and himself—the first number of which was issued in January, 1807. This humorous work, abounding in clever hits at persons and things, was very successful, and was received with favor on the other side of the Atlantic as well as at home. The exquisite “Knickerbocker’s History of New York” soon followed, a burlesque which was taken for veritable history by some rather dull readers, and gave offense to certain descendants of the old Dutch families. Irving’s brother Peter had some hand, though quite a subordinate part, in the construction of this work. After the publication of “Knickerbocker,” nothing of much importance came from his pen for a number of years. After his father’s death, two of Irving’s brothers succeeded to his important mercantile business, and he himself became a sleeping partner in the firm. In 1815 he again visited Europe. He became a resident of London. There he found himself favorably known by his works, and became intimate with many of the literary men of the day. The time came when his firm became bankrupt, and he was obliged to take hold of literary work in earnest for a livelihood. In 1820 “Geoffrey Crayon’s Sketch-Book” was published in London, at the time it was also appearing in America. “Bracebridge Hall” and “Tales of a Traveler” afterward appeared at intervals of two years. In 1824 he was prepared to gratify a desire for travel, and he proceeded to make a protracted tour of the continent. This finished, he took up his residence in Spain, where he collected materials for his “Life of Columbus,” “The Conquest of Granada,” and “The Alhambra,” which works were published in the order named. In 1829 he returned to London, and the second year following he received from the University of Oxford the degree of LL.D. After an absence of seventeen years, he returned to his native land in 1832. In this time he had become a bright star in the world’s literary firmament. His countrymen, proud of his great fame, extended to him a royal welcome. He built “Sunnyside,” near Tarrytown, N. Y., where he loved to entertain his literary and other friends, and here he passed the remaining years of his life. His pen continued busy. The other works he gave to the world are “Astoria,” “Captain Bonneville,” “Life of Goldsmith,” “Mahomet and his Successors,” and “The Life of Washington.” The last work he had just time to finish before sudden death commanded his pen to perpetual silence.