So slowly does the mind awaken5 to the realization6 of consciousness and personality as by-products of animal life only, that few escape carrying over into adult life some obsession7 of its persistence8 in inanimate things, say of malevolence9 in opals or luckiness in a rabbit's foot, or the capacity of moral discrimination against their victims residing in hurricanes and earthquakes. The chief preoccupation of the child in his earlier years is the business of abstracting the items of his environment from this pervading10 sense, and ascribing to them their proper degrees of awareness11. He arrives in a general way at knowing that it hurts the cat's tail to be stepped on because the cat cries, and that it does not hurt the stick. But if the stick were provided with a squeaking12 apparatus13 he would be much longer in the process, and if the stick becomes a steed or a doll it is quite possible for him to weep with sympathetic pain at the abuse of it.
He sees the tree and it is alive and sentient14 to him; you cut a stick horse from its boughs15, and that is separately alive; cut the stick again into two horses, and they will prance16 whole and satisfying. Later when the game is played out, the stick may burn and furnish live flame to dance, live smoke to ascend17, live ash to be[Pg v] treated with contumely; all of which arises not so much in the mere18 trick of invention as in the natural difficulty in thinking of objects freed from consciousness, almost as great as the philosopher's in conceiving empty space. There is a period in the life of every child when almost the only road to the understanding is the one blazed out by the myth-making spirit, kept open to the larger significance of things long after he is apprised19 that the thunder did not originate in the smithy of the gods nor the Walrus20 talk to the Carpenter. Any attempt, however, to hasten the proper distinctions of causes and powers by the suppression of myth making is likely to prove as disastrous21 as helping22 young puppies through their nine days' blindness by forcibly opening their eyes. You might get a few days' purchase of vision for some of them, but you would also have a good many cases of total blindness. What can be done by way of turning the myth-making period to advantage, this little book is partly to show.
Of the three sorts of myths included, about a third are direct transcriptions from Indian myths current in the campodies of the West, but it must not be assumed that myths like The Crooked23 Fir and The White Barked Pine are in any sense "made up," or to be laid to the author's credit. Since the myth originates in an attitude of mind, it must be understood that, to the primitive24 mind, nearly the whole process of nature presents itself in mythical25 terms. It is not that the Indian imagines the tree having sentience—he simply isn't able to imagine its not having it. All his songs, his ceremonies, his daily speech, are full of the aspect of nature in terms of human endeavor. The story of The Crooked Fir was suggested to me in the humorous comment of my Indian guide on one of the forks of Kings River, the first time my attention was caught by the uniform curve of the trunks, and he explained it to me. The myth of The Stream That Ran Away might arise as simply as in the question of a child who has not lived long enough to understand the seasonal26 recession of waters, wishing to know why a stream that ran full some weeks ago is now dry. And if his mother has had trouble with his straying too far from the camp she might say to him that it had run away and the White people had caught it and set it to work in an irrigating27 ditch, "and that is what will happen to you if you don't watch out" ... or she might draw a moral on the neglect of duty if the occasion demanded it ... or if she were gifted with fancy, tell him that that was it which fell on us as rain in Big Meadow, and it would return to its banks when it had watered the high places. But whatever she would tell him would have an acute observation of nature behind it and would be stated in personal terms. It is so that the child begins to understand the continuity of natural forces and their relativity to the life of man.
There is a third sort of story included with these, which aside from being of the stuff from which hero myths are made,—Mahala Joe is in point,—has a value which must be gone into more particularly.
What is important for the teacher to understand is that the myth, itself a living issue, will not bear too much handling; in the process of making it a part of the child's experience, the meaning of it must not be pulled up too often to learn if it has taken root. Unless it elucidates28 itself in the course of time,—and one must recall how long a period elapsed between the first reading of the Ugly Duckling, say, and its final revelation of itself,—unless its content is broadly human and personal, it has practically no educative value. It is not absolutely indispensable that the whole unfolding of it should be within the limited period of school life that affords it; some of the noblest human myths reveal as it were successive layers of insight and purport29, taking change and color from the passing experience; but it remains30 true that the best time to insinuate31 the myth in the child's mind is when he is normally at the myth-making period.
To make it, then, part of the child's possession it should be read to or by him at convenient intervals32, until he can give back a fairly succinct33 version of it. Along with this must go the business of deepening and extending the background; and whether this is to be done at the time of the reading or intermediately, must depend largely on the local background. Children in schools on the Pacific slope should find themselves already tolerably furnished; any hill region in fact should yield suggestive material, without overlaying the content of the myth with trifling34 exactitudes of natural history.
It is very difficult to say in a word all that is implied in the extension of the background. One has only to consider the amount of time spent in teaching the so-called Classic Myths, tremendous in their power of vitalizing and coloring their own and related times, and reflect on their failure to effect anything beyond their mere story interest in modern life, to realize that the value of a myth is directly in proportion as its background is common and accessible. What would happen in a locality calculated to suggest and with a teacher properly equipped to interpret the background of Greek and Roman mythology35, is not proven, but in practical school work the author has found it best to defer36 the teaching of it until by general reading a point of contact is established, which enables the child to read backward into its meaning, and for the actively37 myth-making period to use forms sprung naturally from the child's own environment. The better he can visualize38 and locate the objects mythically39 treated, the better they serve their purpose of rendering40 personal the influences of nature and sustaining him in that happy sense of the community of life and interest in the Wild.
It is for this purpose of extending the background that the introductory sketches41 and some others are included in this collection. The Golden Fortune could be read with The White Barked Pine, and The Christmas Tree with The Crooked Fir. Any hill country or wooded district should furnish additional color, but let it be cautioned here, that though all the nature references in these tales are entirely42 dependable, the child is not to be made unhappy thereby43. Whatever branch of school work it is found necessary to correlate with the myths, it should be in general recreative rather than instructive; for what is comprehended in the term Nature is after all not a miscellany of objects, but a state of mind set up by their happiest coincidences. The least that can be said to achieve a proper notion of a tree or a glacier44 is so much better than the most; a casual application to a known and neighboring circumstance goes further than any amount of explanation.
该作者的其它作品
《The Land of Little Rain少雨的土地》
该作者的其它作品
《The Land of Little Rain少雨的土地》
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1 authentic | |
a.真的,真正的;可靠的,可信的,有根据的 | |
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2 jack | |
n.插座,千斤顶,男人;v.抬起,提醒,扛举;n.(Jake)杰克 | |
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3 killer | |
n.杀人者,杀人犯,杀手,屠杀者 | |
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4 intimacy | |
n.熟悉,亲密,密切关系,亲昵的言行 | |
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5 awaken | |
vi.醒,觉醒;vt.唤醒,使觉醒,唤起,激起 | |
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6 realization | |
n.实现;认识到,深刻了解 | |
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7 obsession | |
n.困扰,无法摆脱的思想(或情感) | |
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8 persistence | |
n.坚持,持续,存留 | |
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9 malevolence | |
n.恶意,狠毒 | |
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10 pervading | |
v.遍及,弥漫( pervade的现在分词 ) | |
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11 awareness | |
n.意识,觉悟,懂事,明智 | |
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12 squeaking | |
v.短促地尖叫( squeak的现在分词 );吱吱叫;告密;充当告密者 | |
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13 apparatus | |
n.装置,器械;器具,设备 | |
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14 sentient | |
adj.有知觉的,知悉的;adv.有感觉能力地 | |
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15 boughs | |
大树枝( bough的名词复数 ) | |
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16 prance | |
v.(马)腾跃,(人)神气活现地走 | |
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17 ascend | |
vi.渐渐上升,升高;vt.攀登,登上 | |
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18 mere | |
adj.纯粹的;仅仅,只不过 | |
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19 apprised | |
v.告知,通知( apprise的过去式和过去分词 );评价 | |
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20 walrus | |
n.海象 | |
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21 disastrous | |
adj.灾难性的,造成灾害的;极坏的,很糟的 | |
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22 helping | |
n.食物的一份&adj.帮助人的,辅助的 | |
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23 crooked | |
adj.弯曲的;不诚实的,狡猾的,不正当的 | |
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24 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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25 mythical | |
adj.神话的;虚构的;想像的 | |
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26 seasonal | |
adj.季节的,季节性的 | |
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27 irrigating | |
灌溉( irrigate的现在分词 ); 冲洗(伤口) | |
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28 elucidates | |
v.阐明,解释( elucidate的第三人称单数 ) | |
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29 purport | |
n.意义,要旨,大要;v.意味著,做为...要旨,要领是... | |
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30 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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31 insinuate | |
vt.含沙射影地说,暗示 | |
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32 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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33 succinct | |
adj.简明的,简洁的 | |
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34 trifling | |
adj.微不足道的;没什么价值的 | |
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35 mythology | |
n.神话,神话学,神话集 | |
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36 defer | |
vt.推迟,拖延;vi.(to)遵从,听从,服从 | |
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37 actively | |
adv.积极地,勤奋地 | |
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38 visualize | |
vt.使看得见,使具体化,想象,设想 | |
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39 mythically | |
adv.想像地,虚构地 | |
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40 rendering | |
n.表现,描写 | |
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41 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
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42 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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43 thereby | |
adv.因此,从而 | |
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44 glacier | |
n.冰川,冰河 | |
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