In his exceedingly suggestive book ent.i.tled "Before an Audience" Mr.

Shepard insists strenuously on what he calls "physical earnestness" in a speaker. It is not meant by this that we are to go before our scholars with our nerves a-quiver, with headaches coming on, with our brains throbbing and our muscles drawn tight. A speaker must be, as Mr. Shepard insists, an animal galvanic battery on two legs. He must be at something corresponding to electric tension. He must be in earnest with his body, not lazy with it. No teacher who is not spirited will succeed with children, or with any one, long.

Nothing will more quickly win and permanently hold a child's attention than earnestness. Children's capacity for serious thinking is greatly undervalued. There is more philosophy in them than you dream of. They are very much in earnest themselves, and they rejoice to see other people very much in earnest.

I do not mean by this that one should always be serious with them.

Nothing will gain their attention more than a joke; but joking with children is as dangerous as feeding them candy. They have no more taste henceforth for anything else, and to keep their attention you must continue to feed them candy and deal out jokes. The most successful teachers of children, judging not by the interest of the children so much as by permanent spiritual results, are those that are always deeply in earnest; and yet their earnestness is shot through and through with the sunshine.

The intensity I am advocating must not be the intensity of an auger, that bores. Oh, if teachers only knew enough not to teach too much! If one good idea is got into the heads of the children as the result of the lesson half-hour, then you have scored a victory. If you try to get in eight good ideas, you will not score one-eighth of a victory.

Some teachers that I know want to get the whole body of theology and the entire system of ethics into each lesson. They skip with haste from truth to mighty truth, crowding into a lesson twenty weighty points, each one of which would be amply sufficient for the half-hour.

The result is an impossibility of attention, for not enough is given about any one thing to fix it and hold it down.

Our Sunday-school teaching reminds me sometimes of a daily paper--all cut up into paragraphic articles; and if there is any topic of universal knowledge omitted, it will appear in the evening edition. A confirmed newspaper reader has become incapable of following an extended discussion, or of reading a book. I have stood before Sunday-school cla.s.ses to which their teacher was in the habit of propounding a series of disconnected questions from a book or paper, and I have found it quite impossible to hold the attention of such cla.s.ses for any length of time on one matter. They were anxious for another paragraph, for fresh head-lines, for a change of subject.

Most Sunday-school lessons are fruitful of mult.i.tudinous suggestions.

Let us not teach so much that we teach nothing, or, worse than nothing, instruct in mental dissipation instead of mental concentration. We prepare for teaching with the lesson hour in view; we should rather have in view the hour following the lesson hour. What impression do we intend the lesson to make? How are we going to make the lesson stand out in relief?

I must now set off against the law of intensity the complementary law of motion. A mesmeric patient is sent into the hypnotic trance by continued staring at the same stationary object. This looks like perfect attention, but it results in sleep. There is a verbal hypnotism that is very common when teachers are trying to impress an idea by holding it up stolidly and persistently before the eyes of their scholars. That is not what I mean by intensity, and it is one of the commonest ways of destroying attention.

If you are anxious to impress a truth and yet hold attention, you must do it by presenting now this side of the truth and now that, now with parable and now with allegory, now with appeal and now with testimony, experience, quotation, objects. Arrived at the end, do not press the point against the scholars and stick it into them, but if they do not see it, go back and pa.s.s over the matter in a different way.

Moving bodies draw and hold the eye. Every one must look at a shooting star, a jumping horse, a running man, a flying bird, a rising kite. To keep attention, our lessons must have what the critics of novels call "movement." There is to be no still life in our pictures. Everything must be stirring, dramatic.

An accomplished teacher must have the power of painting word-pictures.

It is not a difficult art. Hard study and zealous "putting yourself in his place" will accomplish it. Some way or other we must get the persons of the lesson clearly before our scholars' eyes, the scenes as if the scholars were surrounded by them, if we would maintain their attention.

And even if the lesson is impersonal, we must dramatize it, we must invent situations and persons to ill.u.s.trate the abstract thought, or we must draw ill.u.s.trations from real history. These must all be real to us, or they will never be real to our scholars. Pictures always hold the attention of children. Let us remember this when we talk to them.

Children are fond of motion. Let our teaching move briskly, then.

Chapter XV

Serial Teaching

There are short-story writers who are able to hold our attention charmingly for an episode, and there are other minds which are able to lead us entranced through the varied scenes of a long serial. So also there is short-story Sunday-school teaching and serial Sunday-school teaching. Short-story teaching treats each lesson as a separate unit; serial teaching considers each lesson a part only of a great, united whole.

Short-story teaching is far easier than serial teaching. It is concerned with but one set of circ.u.mstances, persons, and principles.

For the serial teacher, on the contrary, every lesson must include a review and a prospectus. He must learn to see things in their relations. He must have a good memory, and a better imagination, to make his memory buoyant. This is not easy; and therefore it is that short-story teaching is much commoner than serial teaching.

And yet serial teaching is the right kind of teaching, for the following reasons. Just as a fine serial story adds to the enthusiasm for good numbers of a periodical, and tides over poor numbers, so, if you can get up a serial interest in your teaching, it will increase the interest of the good days, and will tide over with full seats and bright eyes the rainy, or cold, or hot, or sleepy days.

Besides, Christianity is a whole, and each of its many parts interdependent. We must not teach it, therefore, as if it were a patchwork, capable of being taken apart and put together as men will.

We do wrong to the great system we teach, if our lessons do not leave the impression of a vast, coherent fabric,--too vast for one lesson to disclose, too coherent for one lesson to stand out apart.

Besides, however our lessons may change, our scholars are still the same; and this continuity of listeners should impart a serial interest to the teaching. Cause the scholars to feel that each lesson is to make definite contribution to their growth in knowledge and character.

It won't hurt them if they are as mechanical about it as Peter, and enumerate, lesson after lesson, as in the apostle's famous addition-table, the virtues those lessons may add to their lives.

For these three reasons, then, our teaching should contain some strong element of serial interest. Many teachers err in using only one sort of connecting link, year in, year out, and are as likely to fail as the periodical which always prints serial stories of the same kind of plot, scenes, and characters. I will mention several serial elements which a wise teacher will use in turn, holding to one long enough for profit, but not too long for interest.

In the first place, it is often well to make the serial biographical.

Your serial has then a hero. Moses, Joshua, Samuel, Saul, David, Solomon, Elijah, Elisha, Daniel, John, Peter, Paul, Mary,--what glorious groups of chapters these names bind together! If we are zealous, patient, and imaginative, we can easily, with this magnificent material, construct for our cla.s.ses serials whose absorbing interest will vie with any in their pet weekly story-paper. We can lead them to eager study of a man's development in character and in fortune.

At other times it is better to trust for the serial interest to history,--to study the evolution of a nation as before of a man. The wondrous tale of the rise of the Hebrews from Abraham, their metamorphosis under Moses, their consolidation under judges, their expansion under kings, their division, their downfall, their restoration, their subjugation, their new birth in Him who was before Abraham,--this story may be made to have a deep and constant serial interest.

Of course, with either the biographical or historical serial plan, great pains must be taken with that bugbear of the average teacher,--what the lesson-helps call intervening events, but many a scholar calls intervening mystifications. Often fully half the lesson-time should be given to them. Usually the antecedents they contain are absolutely necessary for an understanding of the lesson,--text, persons, and principles. With them you teach history; without, episodes. They mean work, to be sure; but all unifying and solidifying means work.

At still other times or with other cla.s.ses it is well to let the serial interest center around principles. Treat one group of lessons as ill.u.s.trating the manly or unmanly qualities; consider another group primarily as a commentary on truth and falsehood; let your binding topic for another set be "What is True Religion?" "Sin and Salvation,"

"Serving and Served," "Success and Failure,"--how many lessons could be cl.u.s.tered naturally about these topics! Children are characteristically philosophers, and a treatment of Sunday-school lessons as ill.u.s.trating different phases of some great truth is a method very attractive to them. "What does the Bible teach about truth-telling, about penalty for sin, about the conditions of happiness?" Sunday-school scholars should be ready to answer such questions, not by haphazard impromptus, but by a careful presentation of events, characters, and sayings bearing on each point, and representing the whole Bible.

Another excellent way of binding lessons together is by the scholars themselves. As I said, however the lessons change, the scholars remain the same, with the same prominent troubles, faults, and needs. Both they and you should know what these are. I often have scholars who bring up, Sunday after Sunday, in connection with topics the most diverse, the same questions, which are evidently stumbling-blocks to their minds and lives. These are usually practical matters wherein the Christian imperatives are strangely incongruous with worldly habits, such as the choice of a calling, absolute frankness of speech, public testimony for Christ, the careful observance of the Sabbath, sharp compet.i.tion in trade. These are too big questions to be settled in a few minutes, and young folks who are seized by them in earnest have found for themselves a serial interest which will last for some time.

If we cannot take advantage of such a linking which our scholars discover for themselves, we can always bind lessons together by our own knowledge of our scholars' needs. If you have a young man in your cla.s.s to whom the skepticism of the times is alluring, let him find something faith-inspiring and confirmatory of belief in every lesson.

If you have a young girl burdened with sick-room duties and home cares beyond her strength, let her know that each lesson will bring her fresh energy and comfort. You need not tell your scholars that you know their struggles. Enough that you do know them, and link lesson to lesson for them in sweet chains of love and helpfulness.

When, by any of the four methods I have outlined, you thus establish a bond between your lessons, you have gained two great advantages besides the serial interest which you have aroused. In the first place, you study the Bible as a whole, not by extracts. You learn to interpret one portion by another. You find out the fallacy of fragments. You perceive that Christianity is a system, and not an anthology. In the second place, you have solved the review problem, for every lesson is now a review. If you were required to remember, in order, twelve words chosen at random, you would find it somewhat difficult; but it would be easy enough if those twelve words were arranged in a sentence. Serial teaching is building up a sentence, and the review is merely repeating that sentence. A serial teacher has no fear of review day. The short-story teacher is compelled to find for that day a new short story.

Now, have I not reserved mention of the one great tie of all our teaching? Whether Old Testament or New, history, prophecy, proverbs, or psalms, it is all one continued story, and the hero is Christ. By whatever unifying principle we group our lessons together, Christ unifies the groups. Year in, year out, if Christ is at the heart of our teaching, that teaching is consecutive, serial, solid. Without him, it is disjointed, fragmentary, frail. Not retracting a word I have written about the value of these other methods of arousing continued interest, yet it must be said that they are all worthless without Christ. In him each several building, fitly framed together, groweth into a holy temple in the Lord.

Chapter XVI

Teaching the Psalms

The Lesson Committee often a.s.signs us two or three lessons in a book, and from these few lessons the scholars must get some comprehensive knowledge of the entire book. A book study, therefore, will not be out of place in this series of suggestions to teachers, and I have chosen the Psalms, since they are likely to be most fruitful of hints as to the teaching of other books.

A systematic knowledge of the Psalms is rarely sought after. Only one book of the Bible is more loved: the Gospel of John; only one is read less methodically: the Book of Proverbs.

It is the fault of many teachers that they teach all books of the Bible in the same way. Prophecy, history, poetry, prose, Ruth and Revelation, John and Judges,--it is all one to them. The Psalms, like all other books of the Bible, are unique, and need their own especial mode of treatment. Here are some hints concerning this treatment.

Get first, from the Revised Version, a comprehensive idea of the five Books of Psalms, with their similar endings. Note their length and the total number of psalms. From the Bible dictionary learn what you can about the time when these books were collected, and the probable authors of the anonymous psalms.

Study the psalms by types. We have the First Psalm, which contrasts the good and evil. Psalms of the Good are 1, 26, 41, 72, 94, 101, 126, 127, 128, 144. Psalms of the Evil are 10, 14, 36, 37, 49, 52, 53, 58, 64, 73, 82, 109, 129, 140. The Second is a Psalm of Power. Others are 11, 21, 24, 29, 47, 48, 60, 76, 77, 83, 97, 108, 111, 114, 139. The Nineteenth and the One Hundred and Third are Psalms of Praise. With these study 8, 9, 18, 30, 33, 34, 44, 65, 66, 67, 68, 75, 85, 89, 90, 92, 93, 95, 96, 98, 99, 100, 104, 105, 106, 107, 112, 113, 117, 118, 134, 135, 136, 138, 145, 146, 147, 148, 149, 150. The Second and the Seventy-second are Messianic Psalms. So also are Psalms 45 and 110.

The Twenty-third is a Psalm of Trust. Similar psalms are 4, 7, 16, 27, 31, 56, 62, 71, 91, 125, 131. The Fifty-first is a Psalm of Forgiveness. Such, too, are 25, 32, 39, 40, 80, 81. With Psalm 84, a Psalm of Worship, go 15, 42, 50, 57, 63, 87, 115, 122, 132, 133.

Besides these, the following may be cla.s.sified as Psalms of Help: 3, 12, 20, 35, 43, 46, 59, 61, 70, 79, 121, 124; the following as Psalms of Sorrow: 6, 13, 22, 38, 55, 69, 74, 88, 102, 120, 137, 143; and the following as Psalms of Prayer: 5, 17, 28, 54, 86, 116, 123, 130, 141, 142. Psalms 78 and 119 are Psalms of the Law. Of course, this is only a rough cla.s.sification of the psalms. It will be a pleasant and valuable task for you to cla.s.sify them more elaborately.

Read again the life of David, found in the pa.s.sage from 1 Samuel 16:1 to 1 Kings 2:11. In connection with each psalm you read, think what may have been the king's fortunes when he wrote it, or what experience of his may have prompted it. This psalm of sorrow may have had birth in Absalom's revolt; this song of trust may have welled from a rock of hiding in the desert; this hymn of triumphant strain may have celebrated some victory over Saul or the Syrians; this pleading for forgiveness may have been a wail over Uriah.

The psalms are all dramatic. Here, more than anywhere in the study of the Bible, you need to use imagination, to "put yourself in his place." The psalms are in the first person. Fancy yourself the psalmist as you read his songs. Pray his prayers, exult in his praise, beat your breast with his agony of shame, be calm in his a.s.surance of forgiveness and peace.

In like manner, as you prepare to teach, fancy times in your scholars'

lives to which these psalms will apply, times when it would be well for them to sing these psalms, and teach with these times in clear view.

Be sure thus to translate David's experience into that of your scholars. These psalms are of universal moment, as they come so directly from David's heart, and G.o.d's; and yet they need this translation, because David's surroundings were not ours. His foes, his sins, his exiles, his triumphs, were not ours in form, however much the same in reality.

There are frequent quotations of the psalms to be found in the later books of the Bible. These, especially those made by Christ and the apostles, const.i.tute a priceless commentary. Search for them with the help of a concordance or a reference Bible.