A Full Life: The Works of Charlotte Mason

Every Feeling has its Positive and its Negative––Every feeling has its positive and its negative, and these in almost infinitely varying degrees: pleasure, displeasure; appreciation, depreciation; anticipation, foreboding; admiration, contempt; assurance, hesitancy; diffidence, complacency; and so on, through many more delicate nuances of feeling that are nameable, and yet more, so delicate that language is too rough an instrument for their expression.

The Feelings not Moral or Immoral––It will be observed that all these feelings have certain conditions in common; none are distinctly moral or immoral; they have not arrived at the stage of definite thought; they exist vaguely in what would appear to be a semi-conscious intellectual region. Why, then, need we concern ourselves about this little known tract of that terra incognita which we call human nature? This ‘why’ is the question of the prose-philosopher––our poet sees deeper. In one of the most exquisitely discriminating passages in the whole field of poetry, he speaks of feelings of unremembered pleasure as having no slight or trivial influence on a good man’s life, as the sources of ‘little nameless unremembered acts of kindness and of love.’

What the Feelings are and are not––What are the feelings? Perhaps they are best expressed in Coleridge’s phrase of ‘a vague appetency of the mind’; and we may do something to clear our thoughts by a negative examination. The feelings are not sensations, because they have no necessary connection with the senses; they are to be distinguished from the two great affections (of love and justice) because they are not actively exercised upon any objects; they are distinct from the desires because they demand no gratification; and they are distinguishable from the intellectual operations which we call thought, because while thought proceeds from an idea, is active, and arrives at a result, the feelings arrive from perceptions, are passive, and not definitely progressive.

The Feelings should be Objective, not Subjective––Nor is this the only charge that ‘the feelings’ have to sustain. So long as the feelings remain objective, they are, like the bloom to the peach, the last perfection of a beautiful character; but when they become subjective, when every feeling concerns itself with the ego, we have, as in the case of sensations, morbid conditions set up; the person begins by being ‘over sensitive,’ hysteria supervenes, perhaps melancholia, an utterly spoilt life. George Eliot has a fine figure which aptly illustrates this subjective condition of the feelings. She tells us that a philosophic friend had pointed out to her that whereas the surface of a mirror or of a steel plate be covered with minute scratches going in every direction, if you hold a lighted candle to the surface these random scratches appear to arrange themselves and radiate from the central flame; just so with the person whose feelings have been permitted to minister to his egoistic consciousness: all things in heaven and earth are ‘felt’ as they affect his own personality.

Sensations and Feelings Distinguished––The poet pursues the investigation and makes a pointed distinction; he not only recovers ’sensations sweet,’ but ‘feelings, too, of unremembered pleasure.’ Very few persons are capable of discriminating between the sensations and the feelings produced by an image recovered by some train of association. Wordsworth’s psychology is not only delicately nice, but very just, and the distinction he draws is important to the educator. The truth is, ‘the feelings’ are out of fashion at present: The Man of Feeling is a person of no account; if he still exists he keeps in the shade, being aware, through a certain quickness of perception which belongs to him, that any little efflorescence proper to his character would be promptly reduced to pulp by some wielder of a sledge hammer. The Man of Feeling has himself to thank for this; he allowed his feelings to become fantastic; his sweet sensibilities ran away with him; he meant pathos and talked bathos; he became an exaggerated type, and, in self-preservation, Society always cuts off the offending limb, so The Man of Feeling is no more.

Memories of Delight a Source of Physical Well-being and of Mental Restoration––To continue our study of this amazingly accurate, as well as exquisitely beautiful, psychological record:––the poet goes on to tell us that these sensations sweet are ‘felt in the blood and felt along the heart,’ a statement curiously true to fact; for a pleasurable sensation causes the relaxation of the infinitesimal nerve fibres netted around the capillaries; the blood flows freely, the heart beats quicker, the sense of well-being is increased; gaiety, gladness, supervene; and the gloom of the dull day, and the din of the busy city, exist for us no more; that is to say, memories of delight are, as it were, an elixir of life, capable, when they present themselves, of restoring us at any moment to a condition of physical well-being.

But even this is not the whole. Wordsworth speaks of these memories as ‘passing into my purer mind with tranquil restoration’––purer, because less corporeal, less affected by physical conditions, but all the same so intimately related to the physical brain, that the condition of the one must rule the other. Mind and brain, perhaps, have been alike fagged by the insistent recurrence of some one line of thought; when, suddenly, there flashes into the ‘purer mind’ the cognition of images of delight, presented in consequence of a touch to some spring of association: the current of thought is diverted into new and delightful channels; and weariness and brain fag give place to ‘tranquil restoration.’

If mere sensations are capable of doing so much for our happiness, our mental refreshment, and our physical well-being, both at the time of their reception and for an indefinite number of times afterwards, it follows that it is no small part of our work as educators to preserve the acuteness of the children’s perceptions, and to store their memories with images of delight.

Open-air Memories should be Stored––We have in these few lines a volume of reasons why we should fill for children the storehouse of memory with many open-air images, capable of giving them reflected sensations of extreme delight. Our constant care must be to secure that they do look, and listen, touch, and smell; and the way to this is by sympathetic action on our part: what we look at they will look at; the odours we perceive, they, too, will get. We heard, the other day, of a little girl who traveled in Italy with her parents in the days of dignified family travelling-carriages. The child’s parents were conscientious, and time was precious, not by any means to be wasted on the mere idleness of travelling; so the governess and the little girl had the coupé to themselves, and in it were packed all the paraphernalia of the schoolroom; and the little girl did her sums, learned her geography, probably the counties of England, and all the rest of it, with the least possible waste of time in idle curiosity as to what the ‘faire londes’ through which she was passing might be like. A story like this shows that we are making advances, but we are still far from fully recognising that our part in the education of children should be thoughtfully subordinated to that played by Nature herself.

Chapter 18 Sensations And Feelings

Feelings Educable by Parents

          ’These beauteous forms
     Through a long absence, have not been to me
     As is a landscape to a blind man’s eye;
     But oft, in lonely rooms, and ‘mid the din
     Of towns and cities, I have owed to them,
     In hours of weariness, sensations sweet
     Felt in the blood, and felt along the heart;
     And passing even into my purer mind,
     With tranquil restoration:––feelings, too,
     Of unremembered pleasure: such, perhaps,
     As have no slight or trivial influence
     On that best portion of a good man’s life,
     His little, nameless, unremembered acts
     Of kindness and of love.’
               W. WORDSWORTH, Tintern Abbey.

Reflected Sensations––Insight––the, so to speak, scientific grip of a great poet––is amongst those ‘more things’ in heaven and earth than our philosophy has dreamed of: Wordsworth tells us that, after the lapse of years, those beauteous forms (of Tintern Abbey) gave him sensations. Now we are apt to think that sensations can only be immediate, perceived on the instant that the object is present to the senses; but the poet is, as usual, absolutely right: we may have, so to speak, reflected sensations, as well as those that are immediate; because a conscious sensation depends upon the recognition of an impression in the sensory centres, and this recognition may be evoked, not only by an immediate sensation, but by an association which recalls the image once permanently impressed by the original sensation. Wordsworth is exquisitely right when he speaks of the repeated enjoyment of sensations sweet. ‘In lonely rooms and ‘mid the din of towns and cities,’ some sudden touch of the chords of association has brought to him the soothing joy of a picture––’Forms’ with every grace of symmetry, harmony, venerable antiquity, in the ever fresh and gracious setting of a beautiful landscape. The eye of his mind is infinitely gladdened; the ear of his mind, no longer conscious of the din of cities, hears the chord struck by the Wye in its flow, and the notes of the birds and the lowing of the cattle and the acuter notes of the insect world. Again he perceives the odour of the meadowsweet, he touches the coolness of the grass; and all these are as absolutely sensations as when they were for the first time conveyed to his consciousness by the sensory organs.