A Distributist Education

Stratford's article on education in The Distributist Review.

The question of purpose

Our society, indeed what remains of Western civilization, seems to many people to be falling apart. The economic crisis, the moral crisis, the ecological crisis, and the political crisis combine to create a “perfect storm”. But they all stem from one fundamental error. As a society, we have abandoned a sense of cosmic and moral order for the sake of unlimited growth and progress towards an entirely man-made universe.

A similar process underlies another crisis, the fifth crisis, that of education. It has the same root as the others. Education is in crisis not merely because standards of literacy or mathematics have fallen, but because we have no coherent vision, as a society, of what education is for or what it is meant to achieve. We have assumed that, if it is not merely a cage to keep our young people off the streets, its purpose is to train workers in the great economic machine, the same machine that we hope will produce endless growth. But we cannot know what education is for, since we have no idea any longer what man is for, or what a human being actually is.

As Frank Sheed once put it: “This question of purpose is a point overlooked in most educational discussions, yet it is quite primary. How can you fit a man’s mind for living if you do not know what the purpose of man’s life is?” We need a philosophy of education based on an adequate “anthropology” or picture of man, if we are to put education back on the right track.

The Catholic tradition – and more broadly the great tradition of Western civilization – defined humane learning in terms of what became known as the “Liberal Arts”. As described by St Augustine and others, these consisted of seven fields of study, grouped as three arts of language, and three cosmological arts. The first group or Trivium consisted of Grammar, Dialectic, and Rhetoric; the second, the Quadrivium, of Arithmetic, Geometry, Music and Astronomy. Both sets of arts were intended to be preparatory to the higher studies of Philosophy and Theology – that is, the love of Wisdom (philo-sophia) and the knowledge of God (theo-logos).

The Liberal Arts consituted the core curriculum at the heart of the classical and medieval educational system. I have been investigating them in two books devoted to the Quadrivium and the Trivium – Beauty for Truth’s Sake and Beauty in the Word respectively – to discover their relevance, if any, to our present educational crisis. This article is an attempt to summarize the conclusions of the two books.

There is, of course, an obvious objection to any attempt to revive this tradition today. Science has moved on since the Middle Ages. The world has changed. Why are these seven particular fields of study still of interest to us? How can we we fit other important topics like Biology, History, Geography, Sociology, Computer Studies, and the rest, into such a narrow frame? Why should we even try?

It is of course true that many things have changed. Certainly our view of the world and of ourselves has changed radically. Nevertheless, the actual world and our own nature remain what they were, and the ancient categories are still important. In the case of the Trivium, even at a superficial level it is clear that the knowledge of how languages work, how to think clearly, and how to persuade others, are all skills that are as relevant today as ever. Adding Latin and English grammar, and some training in the principles of logic and eloquence, not to mention some Great Books, to the curriculum of our modern schools would be a great idea. But the Trivium has much deeper foundations than this, as do the Liberal Arts in general.

Awakening (Trivium)
“Grammar” goes to the very root of our existence, the source of our being. In Caritas in Veritate Pope Benedict writes of the grammar of creation “which sets forth ends and criteria for its wise use, not its reckless exploitation” (48). In his Message for the World Day of Peace in 2007 he writes of a transcendent “grammar” inscribed on human consciences or on the human heart, “in which the wise plan of God is reflected”. And writing before his election as Pope he looked to Plato to help him understand this phenomenon of conscience as “something like an original memory of the good and true (the two are identical),” and therefore as an “anamnesis [reminiscence] of the Creator” (see his book On Conscience).

Grammar is not just the rules of language, but the first gift of humanity, the connection to our Origin through memory, language, and tradition. In the book I connect it with the Greek term Mythos, and the concept of telling stories to define our identity, or that of our nation and tribe. The word “grammar” was for a long time associated also with the making of magic, for with Grammar we are dealing with the deepest roots of our existence. Adam naming the animals was the first Grammarian.

With Dialectic we move from Mythos to Logos, consciously searching for the reason of things. This is the art of discerning and uncovering the truth, of distinguishing between imagination and reality. Plato’s dialogues mark the emergence of the dialectical method in its full scope, the transition from a poetic truth evoked or symbolically expressed by story and poetry into the clarity and precision of logical thought. But we need to maintain the link to the poetic consciousness – this is perhaps why Plato, even as he argued for the banishment of the artists, did so in artistic form, expressing himself through imaginative drama.

The third member of the Trivium, Rhetoric, has to do the movement from Mythos and Logos to Ethos. Far from being concerned just with the rules of eloquence, it is about the communication of souls at the level of the heart (“heart speaks to heart”), and so with the creation of community. This is more than a matter of knowing the right words. It is the art of communion, of making harmony, of bringing disparate voices into one song. The truth or Logos of the world can be communicated only in love. And until it is communicated it is not completely known.

Thus the three arts of language consisted in the reminiscence of being through Grammar, the unveiling of truth through Dialectic, and the communication of understanding through Rhetoric. With these three foundations in mind, we can begin to reconceive the curriculum of the school. The subjects we choose to teach may be very different from those studied in the Middle Ages, but that is not important. The Trivium is about the foundations on which education is built, the deeper skills that make us human, the real skills our education is supposed to bring out in us. Whatever we teach, whether it is spelling or geography, history or chemistry, we have to do it in a way that enables our humanity to grow through remembering (being), thinking (truth), and communicating (love).

Re-enchantment (Quadrivium)
Beauty for Truth’s Sake is about the Quadrivium. These four subjects are not merely “mathematical” studies in contrast to the “literary” ones. If they were, we would merely be replicating the modern divorce of science from the humanities. They are about the continued search, on the basis just established, for the Logos or Intelligibility of things.

Each member of the Quadrivium involves the study of patterns in space or time, leading to knowledge of the underlying Wisdom of the Creator expressed in the creation. This, of course, is the origin of the scientific enterprise, but it is equally the origin of art. Both are ways of discerning the Logos. Art exercises the imagination, and so in another way does science, where every major discovery has involved a creative leap. The artist searches for beauty, and so do the scientist and mathematician.

The gulf between arts and sciences, which many have remarked and debated, is not unconnected with the gulf that opened up in modern civilization between faith and reason, though they are not at all the same thing. The “reason” that can be separated from faith is a reason that is curtailed, stunted, closed to the possibility of the transcendent and so of beauty.

As I write in the book, the divorce of faith from reason led to the subordination either of faith to reason (in modernism, positivism, etc.) or of reason to faith (in the various forms of fideism and extreme biblical fundamentalism). But the seeds of the divorce lay in its reduction of reason to discursive thinking alone. Cognition has been afflicted by the same forces that afflict our freedom, and so in order to bring reason and faith together again we must understand both differently, situating them in a richer, deeper, three-dimensional world. We must understand that faith is not blind, but is a light that enables us to see even the natural world more clearly. And we must understand that reason is naturally open to God and in need of God. If we close it off to the transcendent, we do violence to its nature.

Faith is not opposed to reason, but it does function as a constant goad, a challenge, a provocation to reason. Faith claims to stand beyond reason, to speak from the place that reason seeks. But it does not claim to understand what it knows, and it should not usurp the role of reason in that sense, any more than it should contradict it.


Conclusion
The quest for the Logos is the quest for truth, beauty, and goodness. This is the search of the human heart for what it needs to flourish and be happy. And it is the only adequate basis for a philosophy of education. With its help we can construct a framework in which every type of human enquiry finds a place, losing sight neither of the way all subjects ultimately connect together, nor of the nature and needs of the human person who is the subject of education. Rather than fit the child to the Procrustean bed of economics, we fit our educational systems to the nature of the child, whose meaning and purpose transcend that of the economic machine.

Our modern curriculum is fragmented or shattered into a thousand glittering shards. The secret of their unity lies in the Logos that is the principle of unity both for the world and for the human person – for the breaking of the curriculum reflects the brokenness of the person who is the very subject of education itself.

© Stratford Caldecott, 2012

Dan Dare

Having written about American superhero comic books last time, I can't resist mentioning some rather different English comics many of us grew up with in the 1950s and 60s (reprinted in various forms ever since). These were immensely popular. The first issue of the weekly Eagle in 1950 sold nearly a million copies, and it ran for 991 issues. Frank Hampson's exquisitely realized drawings of spaceships and alien worlds in the Dan Dare serials no doubt inspired many a future boffin, adventurer, and artist. To find out why, explore the links. Dare was intended to be an explicitly Christian hero, in fact had originally been "Chaplain Dan Dare of the Inter-Planet Patrol", before finally appearing as the ace pilot of futuristic (and very English) Space Fleet. Eagle was founded by an Oxford-educated Anglican clergyman, Rev Marcus Morris, with its name inspired by the symbol of the Evangelist on a church lectern, and this and its sister papers Swift and Girl contained comic-book versions of the adventures of King Arthur, Robin Hood, and sundry modern missionaries, as well as sporting heroes and explorers. An education for heart, mind, and eye.

Comic book salvation

… Stand up and keep your childishness:

Read all the pedants’ screeds and strictures;

But don’t believe in anything

That can’t be told in coloured pictures.

Chesterton would not have liked many of the stories told in coloured pictures by American comic books, which these days tend to dystopia and sado-eroticism – an all-too predictable reflection of the present state of our culture. But some he wouldhave liked, and I dare to think I could show him my own comic collection without (much) embarrassment.

My personal golden age of comics was in the late 60s and 1970s, when I would roam the streets of London looking for the latest American imports: Batman or Green Lantern, The Fantastic Four or The Mighty Thor, and a dozen other titles, illustrated by such artists as Neal Adams, the Buscema

brothers, Jack “King” Kirby, or Jim Steranko. Kirby it was who, in partnership with Stan “the Man” Lee, gave us most of the great Marvelheroes, including the Hulk, Thor, Captain America, and the Silver Surfer, and his heavily emblematic and dynamic style influenced generations of later artists. A quick scurry through Marvel-related entries in Wikipedia will explain what I am talking about, if you don’t already know. You’ll find plenty of coloured pictures, too.

True, nearly all the comics I’m talking about featured punch-ups between costumed heroes and villains, and yes, there was an assortment of buxom females in tight costumes, but the appeal of the comics went deeper than that. It was the brilliance of the artistry (despite the muddy inks on cheap paper), and the way the caped crusaders tapped into archetypal, almost mythic stories, not the display of anatomy, that appealed most to me. Honestly, it was. Kirby in particular mined ancient mythology without apology to construct pantheon after pantheon of super-powered beings, ending up (at Marvel’s rival DC, publisher of Superman and Batman) with a race explicitly called the New Gods.

Superman, the progenitor of all these characters (eventually Kirby got to draw him too), was Samson and Hercules in coloured tights. After his debut in Action Comics in 1938, it didn’t take him long to become a cultural icon. If the “superman” of Nietzsche transcended conventional morality, Jerry Siegel and Joe Schuster’s Superman, adopted refugee from the planet Krypton and avowed defender of peace, justice, and the earth itself, accepted and upheld the moral code taught by his adopted parents in Smallville, Martha and Jonathan Kent. Right up to today, he is one of the few superheroes who remain relatively untainted by moral compromise. He doesn’t even kill; he puts villains in jail.

It has taken until now for CGI to catch up with the comics. The new wave of superhero movies, especially those from the Marvel studio, boast special effects that make the earlier Superman films starring Christopher Reeve look like vintage episodes of Doctor Who, with monsters of cardboard and cellophane. One film in particular, the recent Avengers film (titled Avengers Assemble in the UK), is widely described as the superhero film that comic fans have been waiting decades to see. Anyone who sneers at it has simply never enjoyed a comic book. Up until now, superhero films have focused on one hero at a time; now the movies can do what has long delighted the fans of the comic: create teams of heroes and villains, and crossovers between one comic-book franchise and another. “The Avengers is what we call ourselves. Earth’s mightiest heroes type thing,” explains the billionaire genius philanthropist Tony Stark (a.k.a. Iron Man) to the villainous Asgardian god Loki, moments before being thrown through a skyscraper window.

The Avengers are assembled by Nick Fury (Samuel L. Jackson), Director of the secret agency S.H.I.E.L.D., with the aim of defending the earth against the alien army commanded by Thor’s brother. They include Captain America (Marvel’s moral equivalent to the early Superman), Iron Man (billionaire inventor in a flying suit), the Hulk (Bruce Banner, a scientist who bulks up big and green when angry), the god of thunder on assignment from Asgard, and two normal humans with heightened abilities, Hawkeye (archer with trick arrows) and Black Widow (former Russian spy and martial arts expert). The first half of the film shows our heroes squabbling, but the self-sacrificing example of a secondary (human) character, Agent Coulson, gives them the “push” they need to become a team capable of setting their egos aside and saving the world – represented, of course, mainly by Manhattan.

“There is only one God, Ma’m, and I’m pretty sure he doesn’t dress like that,” quips Captain America, in reference to the Asgardians. The line is a suitable one from the “old fashioned” Captain, who last saw action in World War Two (against a much worse villain than Hitler) and has only recently been thawed out of the polar ice where he was buried after saving the world the last time round. But, as Coulson says, “the world needs a bit of ‘old-fashioned’.”

We all need guardian angels. In fact the Catholic Church teaches that we each have one – a supernatural entity assigned at conception, not to dominate us, but to prevent us being dominated; to defend us against our supernatural enemies, giving us the space to live our human lives in a world that is much bigger and scarier than we think (what the Rangers do for the Shire in The Lord of the Rings). Comic-book superheroes and supervillains are the angels and demons of this cosmic spiritual warfare reinvented for the secular imagination, and they resonate with us because on some level we know that we need them. At the same time, they give us something to aspire to (the corresponding Christian doctrine is theosis or divinization by grace). These are not all protectors sent to us from outside – like the boy from Krypton, or Thor – more often they are ordinary human beings (Peter Parker, Bruce Wayne, Tony Stark, Hal Jordan) who by providential accident or brilliant design find themselves possessed of a power beyond the lot of mortals. And “with great power comes great responsibility”, as they quickly learn. These are flawed human beings who have to become heroes, fighting alongside the guardian angels for the right of human beings to live a meaningful life. (“I have come to set them free,” says Loki. “Free from what?” asks Fury. “Freedom,” comes the reply.)

The story that these “coloured pictures” are trying to tell us is certainly old-fashioned enough, but we never tire of hearing it. It is, as Chesterton would say, a fairy tale that holds more wisdom than most modern novels. Good and evil are real, and we define our identity and free our souls by becoming identified with the good.  Heroes are not made by a burst of gamma radiation or a fancy metal suit; they are forged in a moral struggle, and the true hero is the one who is prepared to give his life to save others. And there is another way in which the coloured pictures tell the truth. Alien hordes and false gods are out there, waiting for their chance; waiting for someone to open the door to them. There is a spiritual battle going on all around us, and everyday life is part of something much bigger, something cosmic. Avengers, assemble!

Recent additions

Tow recent additions to the links column on the left: under our "Useful articles and links" see Mathematics as Poetry, and under "Fun and educational" see Learn Chemistry through comics! Thanks to readers for these tips.

Announcing a new book

BEAUTY IN THE WORD, published by Angelico Press, offers a new Catholic philosophy of education, completing the retrieval of the seven liberal arts begun in Beauty for Truth's Sake by examining the language arts, the "Trivium", which Dorothy L. Sayers made the basis of Classical Education in her famous essay, "The Lost Tools of Learning". But this book tries to go further than Sayers. Order from Amazon.com or Amazon.co.uk.

New opportunities for school reform and the creation of new schools encourage radical thinking about education. We need a philosophy that can guide us as we found these new schools, or enrich and improve existing schools, or attempt to design a curriculum for teaching our children at home.
The curriculum has become fragmented and incoherent because we have lost any sense of how all knowledge fits together. What kind of education would enable a child to progress in the rational understanding of the world without losing a sense of the whole, or a sense of the sacred? We must make an effort to overcome in ourselves false ideas inculcated by the education that we ourselves received, before we can understand the elements that would make a better education possible for our children.

Anthony Esolen describes the book's purpose as laying the foundations of "an education that penetrates the heart and the mind with light." The Trivium represents the first or foundational stage of the liberal arts, understood broadly as an education for freedom. It gives us grounding for greater freedom and responsibility in three ways; that is, by developing our ability to imagine, think, and communicate. The child needs to grow in these three dimensions to be fully integrated with society. If any of the three are lacking he or she will be cut off from society and become an isolated and rather lonely particle, frenetic or depressed; one lost fragment of a broken puzzle.

In educational wisdom, the traditional "arts of language" (Grammar, Dialectics, and Rhetoric) have a key role to play.To discover this role, we need to penetrate into the deeper meaning of the "three ways" (trivium = "place where three roads meet"). As Anthony Esolen says, these reflect the three primary axes of Being: "of knowing, that is to say giving; of being known, that is to say receiving; and of the loving gift." I have referred to them under the headings of Remembering, Thinking, and Speaking, corresponding to Mythos, Logos, and Ethos. John Paul II described "the incandescent centre" of all educational activity as "co-operating in the discovery of the true image which God’s love has impressed indelibly upon every person, and which is preserved in the mystery of his own love." The whole educational process comes reaches its consummation in the liturgical act, the act of worship.

This all sounds very theoretical, no doubt – and so it is, in the original sense of theoria as "contemplation". But I have tried to show that it can be eminently practical as well, by showing how these ideas can be used to construct a curriculum. I refer in passing to the St Jerome Academy in Hyattsville, Maryland, whose "Educational Plan" (available online) has a very similar inspiration. Sequels to Beauty in the Word will include practical resources for parents and teachers, and we are looking for collaborators and advisers to join our working group in the coming months.

Here are a couple of the advance comments on the new book:

James V. Schall SJ: "Everyone recognizes the centrality of education, of introducing what is known to the one capable of knowing. What is often lacking is some sense of the whole, of some orderly way to think about the whole. It is not that we do not have a tradition that looks after the basic things and their order. It is that we have replaced what we need to know with a methodology that is based on a narrow concept of what constitutes knowing. In this insightful book, Stratford Caldecott has presented a way to understand education in a sense that includes philosophy, theology, the arts, literature, the studies of beauty and truth and what is good. It is a rare book that understands the unity of knowledge and what we want to know. This is one of those rare books."

Aidan Nichols OP: “Beauty in the Word is the fruit of a lifetime's thinking about the relation between faith and life by a cultural entrepreneur who is also a parent and knows what, educationally, can actually work. Most Catholic education has been confined not only externally, by State regulation, but also internally, owing to an inadequate philosophy of the human being in the full (and I mean full!) range of his or her capacities and needs. Now that successive governments in the UK have freed up the institutional constraints, those responsible for new initiatives in Catholic schooling have a chance to recreate the inner spirit of education and not just its outer frame. They will not easily find a programme more inspirational than the one presented here.”

ARTICLES:
The Question of Purpose
A Distributist Education

Dante

Check out this superb site about the World of Dante, Italy's greatest poet. Teachers of the Comedy will find a range of materials intended to facilitate the teaching of the poem. They include a video demonstration, which introduces users to the chief components to the site and how to access them; a list of suggested activities; additional readings on the poem and on the artists whose work is included; links to other sites; and a survey. The activities work particularly well if teachers show students how to access the various materials, especially the information available on the combined text pages and search page. Or just read the poem, and enjoy the illustrations, maps, and music.