Emile. Жан-Жак Руссо
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to enable people more attentive and less excitable than children to find it. [Footnote: To practise them in attention, only tell them things which it is clearly to their present interest that they should understand thoroughly; above all be brief, never say a word more than necessary. But neither let your speech be obscure nor of doubtful meaning.] Then having made the little competitors draw lots, I should send first one and then another till the right box was found. I should increase the difficulty of the task in proportion to their skill.
Picture to yourself a youthful Hercules returning, box in hand, quite proud of his expedition. The box is placed on the table and opened with great ceremony. I can hear the bursts of laughter and the shouts of the merry party when, instead of the looked-for sweets, he finds, neatly arranged on moss or cotton-wool, a beetle, a snail, a bit of coal, a few acorns, a turnip, or some such thing. Another time in a newly whitewashed room, a toy or some small article of furniture would be hung on the wall and the children would have to fetch it without touching the wall. When the child who fetches it comes back, if he has failed ever so little to fulfil the conditions, a dab of white on the brim of his cap, the tip of his shoe, the flap of his coat or his sleeve, will betray his lack of skill.
This is enough, or more than enough, to show the spirit of these games. Do not read my book if you expect me to tell you everything.
What great advantages would be possessed by a man so educated, when compared with others. His feet are accustomed to tread firmly in the dark, and his hands to touch lightly; they will guide him safely in the thickest darkness. His imagination is busy with the evening games of his childhood, and will find it difficult to turn towards objects of alarm. If he thinks he hears laughter, it will be the laughter of his former playfellows, not of frenzied spirits; if he thinks there is a host of people, it will not be the witches' sabbath, but the party in his tutor's study. Night only recalls these cheerful memories, and it will never alarm him; it will inspire delight rather than fear. He will be ready for a military expedition at any hour, with or without his troop. He will enter the camp of Saul, he will find his way, he will reach the king's tent without waking any one, and he will return unobserved. Are the steeds of Rhesus to be stolen, you may trust him. You will scarcely find a Ulysses among men educated in any other fashion.
I have known people who tried to train the children not to fear the dark by startling them. This is a very bad plan; its effects are just the opposite of those desired, and it only makes children more timid. Neither reason nor habit can secure us from the fear of a present danger whose degree and kind are unknown, nor from the fear of surprises which we have often experienced. Yet how will you make sure that you can preserve your pupil from such accidents? I consider this the best advice to give him beforehand. I should say to Emile, "This is a matter of self-defence, for the aggressor does not let you know whether he means to hurt or frighten you, and as the advantage is on his side you cannot even take refuge in flight. Therefore seize boldly anything, whether man or beast, which takes you unawares in the dark. Grasp it, squeeze it with all your might; if it struggles, strike, and do not spare your blows; and whatever he may say or do, do not let him go till you know just who he is. The event will probably prove that you had little to be afraid of, but this way of treating practical jokers would naturally prevent their trying it again."
Although touch is the sense oftenest used, its discrimination remains, as I have already pointed out, coarser and more imperfect than that of any other sense, because we always use sight along with it; the eye perceives the thing first, and the mind almost always judges without the hand. On the other hand, discrimination by touch is the surest just because of its limitations; for extending only as far as our hands can reach, it corrects the hasty judgments of the other senses, which pounce upon objects scarcely perceived, while what we learn by touch is learnt thoroughly. Moreover, touch, when required, unites the force of our muscles to the action of the nerves; we associate by simultaneous sensations our ideas of temperature, size, and shape, to those of weight and density. Thus touch is the sense which best teaches us the action of foreign bodies upon ourselves, the sense which most directly supplies us with the knowledge required for self-preservation.
As the trained touch takes the place of sight, why should it not, to some extent, take the place of hearing, since sounds set up, in sonorous bodies, vibrations perceptible by touch? By placing the hand on the body of a 'cello one can distinguish without the use of eye or ear, merely by the way in which the wood vibrates and trembles, whether the sound given out is sharp or flat, whether it is drawn from the treble string or the bass. If our touch were trained to note these differences, no doubt we might in time become so sensitive as to hear a whole tune by means of our fingers. But if we admit this, it is clear that one could easily speak to the deaf by means of music; for tone and measure are no less capable of regular combination than voice and articulation, so that they might be used as the elements of speech.
There are exercises by which the sense of touch is blunted and deadened, and others which sharpen it and make it delicate and discriminating. The former, which employ much movement and force for the continued impression of hard bodies, make the skin hard and thick, and deprive it of its natural sensitiveness. The latter are those which give variety to this feeling, by slight and repeated contact, so that the mind is attentive to constantly recurring impressions, and readily learns to discern their variations. This difference is clear in the use of musical instruments. The harsh and painful touch of the 'cello, bass-viol, and even of the violin, hardens the finger-tips, although it gives flexibility to the fingers. The soft and smooth touch of the harpsichord makes the fingers both flexible and sensitive. In this respect the harpsichord is to be preferred.
The skin protects the rest of the body, so it is very important to harden it to the effects of the air that it may be able to bear its changes. With regard to this I may say I would not have the hand roughened by too servile application to the same kind of work, nor should the skin of the hand become hardened so as to lose its delicate sense of touch which keeps the body informed of what is going on, and by the kind of contact sometimes makes us shudder in different ways even in the dark.
Why should my pupil be always compelled to wear the skin of an ox under his foot? What harm would come of it if his own skin could serve him at need as a sole. It is clear that a delicate skin could never be of any use in this way, and may often do harm. The Genevese, aroused at midnight by their enemies in the depth of winter, seized their guns rather than their shoes. Who can tell whether the town would have escaped capture if its citizens had not been able to go barefoot?
Let a man be always fore-armed against the unforeseen. Let Emile run about barefoot all the year round, upstairs, downstairs, and in the garden. Far from scolding him, I shall follow his example; only I shall be careful to remove any broken glass. I shall soon proceed to speak of work and manual occupations. Meanwhile, let him learn to perform every exercise which encourages agility of body; let him learn to hold himself easily and steadily in any position, let him practise jumping and leaping, climbing trees and walls. Let him always find his balance, and let his every movement and gesture be regulated by the laws of weight, long before he learns to explain them by the science of statics. By the way his foot is planted on the ground, and his body supported on his leg, he ought to know if he is holding himself well or ill. An easy carriage is always graceful, and the steadiest positions are the most elegant. If I were a dancing master I would refuse to play the monkey tricks of Marcel, which are only fit for the stage where they are performed; but instead of keeping my pupil busy with fancy steps, I would take him to the foot of a cliff. There I would show him how to hold himself, how to carry his body and head, how to place first a foot then a hand, to follow lightly the steep, toilsome, and rugged paths, to leap from point to point, either up or down. He should emulate the mountain-goat, not the ballet dancer.
As touch confines its operations to the man's immediate surroundings, so sight extends its range beyond them; it is this which makes it misleading; man sees half his horizon at a glance. In the midst of this host of simultaneous impressions and the thoughts excited by them, how can he fail now and then to make mistakes? Thus sight is the least reliable of our senses, just because it has the widest range; it functions long before our other senses, and its work is too hasty and on too large a scale to be corrected by the rest. Moreover, the very illusions of perspective are necessary if we are to arrive at a knowledge of space and compare one part of space with another. Without false appearances we should never see anything at a distance; without the gradations