A Quote by Eugen Herrigel
Far from wishing to awaken the artist in the pupil prematurely, the teacher considers it his first task to make him a skilled artisan with sovereign control of his craft.
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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."
The man who is an initiate of one of the great Mystery Schools never fears to let his pupils outdistance him, because he knows that it stands him in good stead with his superiors if he is constantly sending up to them aspirants who 'make good.' He therefore never tries to hold back a promising pupil, because he has no need to fear that pupil, if allowed to penetrate into the Mysteries, would spy out the nakedness of the land; he will rather bring back a report of its exceeding richness, and thereby confirm the statements of his teacher and spur his fellow pupils to yet greater eagerness.
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.
A tutor should not be continually thundering instruction into the ears of his pupil, as if he were pouring it through a funnel, but, after having put the lad, like a young horse, on a trot, before him, to observe his paces, and see what he is able to perform, should, according to the extent of his capacity, induce him to taste, to distinguish, and to find out things for himself; sometimes opening the way, at other times leaving it for him to open; and by abating or increasing his own pace, accommodate his precepts to the capacity of his pupil.
Some souls think that the Holy Spirit is very far away, far, far, up above. Actually he is, we might say, the divine Person who is most closely present to the creature. He accompanies him everywhere. He penetrates him with himself. He calls him, he protects him. He makes of him his living temple. He defends him. He helps him. He guards him from all his enemies. He is closer to him than his own soul. All the good a soul accomplishes, it carries out under his inspiration, in his light, by his grace and his help.
A teacher, therefore, who would think that he could prepare himself for his mission through study alone would be mistaken. The first thing required of a teacher is that he be rightly disposed for his task.
The first responsibility of the Muslim is as teacher. That is his job, to teach. His first school, his first classroom is within the household. His first student is himself. He masters himself and then he begins to convey the knowledge that he has acquired to the family. The people who are closest to him.
The difference between art and craft lies not in the tools you hold in your hands, but in the mental set that guides them. For the artisan, craft is an end in itself. For you, the artist, craft is the vehicle for expressing your vision. Craft is the visible edge of art.
Unskilled in sophistry and new to the darker ways of national politics, Grover Cleveland faced his accusers, his slanderers, and his judges, the sovereign people, conscious of the general rectitude of his life, and courageously determined to bear the burdens of his sins in so far as guilt was his.
A true teacher should penetrate to whatever is vital in his pupil, and develop that by the light and heat of his own intelligence.
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.
Perhaps I fear him because I could love him again, and in loving him, I would come to need him, and in needing him, I would again be his faithful pupil in all things, only to discover that his patience for me is no substitute for the passion which long ago blazed in his eyes.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy.
In short, no association or alliance can be happy or stable without me. People can't long tolerate a ruler, nor can a master his servant, a maid her mistress, a teacher his pupil, a friend his friend nor a wife her husband, a landlord his tenant, a soldier his comrade nor a party-goer his companion, unless they sometimes have illusions about each other, make use of flattery, and have the sense to turn a blind eye and sweeten life for themselves with the honey of folly.
The task of a teacher is not to work for the pupil nor to oblige him to work, but to show him how to work.
When a man finds that it is his destiny to suffer, he will have to accept his suffering as his task; his single and unique task. He will have to acknowledge the fact that even in suffering he is unique and alone in the universe. No one can relieve him of his suffering or suffer in his place. His unique opportunity lies in the way in which he bears his burden.
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