A Quote by Betty Edwards
Clearly the work of a master teacher who has deep knowledge of his subject and enormous empathy for his students and his readers.
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A teacher can never truly teach unless he is still learning himself. A lamp can never light another lamp unless it continues to burn its own flame. The teacher who has come to the end of his subject, who has no living traffic with his knowledge but merely repeats his lesson to his students, can only load their minds, he cannot quicken them.
A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which.
The fitness of the pupil is shown in his love for the acquisition of knowledge, his willingness to receive instruction, his reverence for learned and virtuous men, his attendance upon the teacher, and his execution of orders.
It is not the man who is beside himself, but he who is cool and collected,--who is master of his countenance, of his voice, of his actions, of his gestures, of every part of his play,--who can work upon others at his pleasure.
The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him he's always doing both.
Man's knowledge of science has clearly outstripped his knowledge of man. Our only hope of making the atom servant rather than master lies in education, in a broad liberal education where each student within his capacity can free himself from trammels of dogmatic prejudice and apply his educational accoutrement to besetting social and human problems.
The real master is only a presence. He has no intentions of being a master. His presence is his teaching. His love is his message. Every gesture of his hand is pointing to the moon. And this whole thing is not being done, it is a happening. The master is not a doer. He has learned the greatest secret of life: let-go. The master has drowned his ego and the idea of separation from existence itself.
Often nothing keeps the pupil on the move but his faith in his teacher, whose mastery is now beginning to dawn on him .... How far the pupil will go is not the concern of the teacher and master. Hardly has he shown him the right way when he must let him go on alone. There is only one thing more he can do to help him endure his loneliness: he turns him away from himself, from the Master, by exhorting him to go further than he himself has done, and to "climb on the shoulders of his teacher."
To make a man happy, fill his hands with work, his heart with affection, his mind with purpose, his memory with useful knowledge, his future with hope, and his stomach with food.
A man who knows the court is master of his gestures, of his eyes and of his face; he is profound, impenetratable; he dissimulates bad offices, smiles at his enemies, controls his irritation, disguises his passions, belies his heartm speaks and acts against his feelings.
A teacher who cannot explain any abstract subject to a child does not himself thoroughly understand his subject; if he does not attempt to break down his knowledge to fit the child's mind, he does not understand teaching.
[A writer] must try to think clearly, to feel deeply, to write honestly. If he is fortunate he will make a living, but his work will never be anymore essentially clear and deep and honest than he himself is, and he will be judged finally not for how many copies his books have sold, but for what they have done to enrich the lives of their readers, now and in time to come.
To teach effectively a teacher must develop a feeling for his subject; he cannot make his students sense its vitality if he does not sense it himself. He cannot share his enthusiasm when he has no enthusiasm to share. How he makes his point may be as important as the point he makes; he must personally feel it to be important.
Anytime you adapt work of somebody who you respect, as much as I respect him, it's an enormous responsibility. In honoring that responsibility, what we try to do is to continually use his work, and the writing that he did about his life and his work, as our guide. That starts with his intent for what he was trying to express when he wrote it, and it extends to his intent overall.
Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.
I think it will be found that he who speaks with most authority on a given subject is not ignorant of what has been said by his predecessors. He will take his place in a regular order, and substantially add his own knowledge to the knowledge of previous generations.
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