But
his point of view ignored the basis of
expression, which is to my mind so important.
Paper-cutting is external to English,
of course. Its only connection is in its
power to correlate different forms of
expression, and to react on speech-expression
through sense-stimulus. But playing the
story is a closer relative to English than
this. It helps, amazingly, in giving the
"something to say, the urgent desire to say
it," and the freedom in trying. Never mind
the crudities,--at least, at the time; work
only for joyous freedom, inventiveness,
and natural forms of reproduction of the
ideas given. Look for very gradual changes
in speech, through the permeating power
of imitation, but do not forget that this is
the stage of expression which inevitably
precedes art.
All this will mean that no corrections are
made, except in flagrant cases of slang or
grammar, though all bad slips are mentally
noted, for introduction at a more favorable
time. It will mean that the teacher
will respect the continuity of thought and
interest as completely as she would wish an
audience to respect her occasional prosy
periods if she were reading a report. She
will remember, of course that she is not
training actors for amateur theatricals,
however tempting her show-material may be;
she is simply letting the children play with
expression, just as a gymnasium teacher
introduces muscular play,--for power
through relaxation.
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