A Quote by Stephen Neill
The bad teacher imposes his ideas and his methods on his pupils, and such originality as they may have is lost in the second-rate art of imitation.
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Liebig was not a teacher in the ordinary sense of the word. Scientifically productive himself in an unusual degree, and rich in chemical ideas, he imparted the latter to his advanced pupils, to be put by them to experimental proof; he thus brought his pupils gradually to think for themselves, besides showing and explaining to them the methods by which chemical problems might be solved experimentally.
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.
A teacher who can show good, or indeed astounding results while he is teaching, is still not on that account a good teacher, for it may be that, while his pupils are under his immediate influence, he raises them to a level which is not natural to them, without developing their own capacities for work at this level, so that they immediately decline again once the teacher leaves the schoolroom.
A good teacher protects his pupils from his own influence.
Emile Saint-Blague had been a lively, versatile painter in his youth, but he had abused his energy by painting too many pictures; so that in what might have been the ripe period of his art he had nothing left but ideas. A man who has nothing left but ideas may be of great service to his friends, but he is of no use at all to himself. Emile was certainly an inspiration to his friends.
An evangelist no more imposes his views on others than a pilot imposes his views on his passengers when he lands a plane on a runway. I bet the passengers are glad!
The true teacher defends his pupils against his own personal influence. He inspires self-trust. He guides their eyes from himself to the spirit that quickens him. He will have no disciples.
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.
Whatever man may stand, whatever he may do, to whatever he may apply his hand - in agriculture, in commerce, and in industry, or his mind, in the world of art, and science - he is, in whatsoever it may be, constantly standing before the face of God. He is employed in the service of his God. He has strictly to obey his God. And above all, he has to aim at the glory of his God.
The good teacher discovers the natural gifts of his pupils and liberates them by the stimulating influence of the inspiration that he can impart. The true leader makes his followers twice the men they were before.
When Heaven is about to confer a great office on a man, it first exercises his mind with suffering, and his sinews and bones with toil ; it exposes his body to hunger, and subjects him to extreme poverty ; it confounds his undertakings. By all these methods it stimulates his mind, hardens his nature, and supplies his incompetencies.
We are in the society of the teacher-judge, the doctor-judge, the educator-judge, the 'social-worker'-judge; it is on them that the universal reign of the normative is based; and each individual, wherever he may find himself, subjects to it his body, his gestures, his behavior, his aptitudes, his achievements.
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.
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.
Detach the writer from the milieu where he has experienced his greatest sense of belonging, and you have created a discontinuity within his personality, a short circuit in his identity. The result is his originality, his creativity comes to an end. He becomes the one-book novelist or the one-trilogy writer.
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.
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