First, a happy 2015 to everyone! This promises to be a glorious year for CONTRARIWISE. It is also the year of the Class of 2015. At my school, many members of this class have been involved with CONTRARIWISE, philosophy roundtables, and honors projects in philosophy, so I will be both sad and immensely proud to see them move on. Some have already been admitted to colleges (Columbia, MIT, Johns Hopkins, Smith, SUNY Binghamton, and elsewhere); others have a few months of waiting in store. Those months will go by quickly, though, and CONTRARIWISE will come out in the meantime!
The year has also started out with great sadness; one of my former students lives in Shanghai, so when I read the news of the stampede, it was not remote as such news often can be. (I trust that she is unharmed—but she must have been affected in any case.)
I am returning today to an idea from yesterday: that the “successful” teacher is one who looks inward. What bothers me is not the idea of looking inward, but rather the subordination of this to some kind of success on the job. In other words, inner life should not and cannot be mandated, and those who live it must do so on their own terms. It certainly may take place on the job and may have benefits for the job—but ultimately it is not for the job. Soul-searching as a job requirement will be stultified. To have meaning, it must be at liberty to go beyond others’ demands. It will find more of a home in poetry than in any teacher manual (since poetry by nature goes beyond others’ expectations).
When listening to a recorded lecture this morning, I was introduced to a passage from The Principles of Art by Robin George Collingwood:
The artist must prophesy not in the sense that he foretells things to come, but in the sense that he tells his audience, at risk of their displeasure, the secrets of their own hearts. His business as an artist is to speak out, to make a clean breast. But what he has to utter is not, as the individualistic theory of art would have us think, his own secrets. As spokesman of his community, the secrets he must utter are theirs. The reason why they need them is that no community knows its own heart; and by failing in this knowledge a community altogether deceives itself on the one subject concerning which ignorance means death. For the evils which come from that ignorance the poet as prophet suggests no remedy, because he has already given one. The remedy is the poem itself. Art is the community’s medicine for the worst disease of mind, the corruption of consciousness.
There is a lot to interpret in this passage, but I will focus on these two statements: “no community knows its own heart” and “the remedy is the poem itself.” Why does no community know its own heart? Well, it is virtually impossible to have heart as a group. Yes, there are approximations, but they are often galvanized by one person’s action—in this case, a poem. Why is the poem the remedy? It’s not that it makes us feel better. Rather, it offers full life and a release from compromises, lies, half-measures, and what Collingwood calls “the corruption of consciousness.”
To prophesy, then, is to tell not the future, but the present; to tell it as no one else is telling it. Wordsworth’s “The Idiot Boy” (which I read after being moved by David Bromwich’s description in Moral Imagination) has prophetic momentum; we go with Betty on a journey that we ourselves take but do not always recognize. It is the story of a mother searching high and low for her “idiot boy,” whom she has sent off in the night for medicine for their neighbor, who is very sick. Her hope and worry and near-despair are so great that even nature seems to come to a stop (except for the owls):
She listens, but she cannot hear
The foot of horse, the voice of man;
The streams with softest sound are flowing,
The grass you almost hear it growing,
You hear it now, if e’er you can.
The owlets through the long blue night
Are shouting to each other still:
Fond lovers! yet not quite hob nob,
They lengthen out the tremulous sob,
That echoes far from hill to hill.
It would be difficult to read this poem without some soul-searching (where the soul itself goes searching). But this is not the kind that bends to any job. It goes beyond employment. A job, no matter how important or meaningful, must not be confused with a life. No book on pedagogy comes close to “the tremulous sob, / That echoes far from hill to hill.” Unless Wordsworth is included in the curriculum, few will see the poem as relevant to anything at school. But in a sense it is relevant to everything: it is a poem of life and death, sanity and insanity, health and illness, childhood and adulthood, humans and nature—all of this in chillingly beautiful verse. It is worth living beyond the job, even for this poem alone.