POETS UNITED - TEACHING

“I am indebted to my parents for living, but to my teachers for living well.” - Alexander the Great

“World Teachers’ Day held annually on 5 October, is a UNESCO initiative, a day devoted to appreciating, assessing, and improving the educators of the world. The real point is to provide a time to look at and address issues pertaining to teachers.” – Quite aptly therefore, Poets United has as its Midweek Motif “Teaching”. Here is my contribution:

For My Teachers

The words I write are full of gratitude,

Each rounded letter a thank you,

Each line a heartfelt appreciation

Of my teachers’ tireless persistence.

The pages I read are full of knowledge,

Each word a bird in flight,

Each phrase a new friend, a new acquaintance,

Met in distant places, wandering through fabled cities.

The books I read are full of pleasure,

Each page full of new-felt emotion and senses;

Each sentence a laugh, some tears,

Some gentleness, some fiery argument.

The verse I write is full of thought and heart,

Of pain and joy, of brain and soul, love, friendship.

I write and read, and with unconscious ease effortlessly

Take for granted this precious gift of literacy.

I thank my luck for this privilege, this gift of providence,

That I was amongst the chosen to experience

This mystery of written word, of imprisoned sound,

Of captured language and word-pictures.

The present of literature, the happiness of calligraphy

The indulgence of a memoir, the work of words,

The magic of communication,

This richness of script.

ART SUNDAY - CHARLES GLEYRE

“Art must take reality by surprise.” - Françoise Sagan

Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist, resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, James Abbott McNeill Whistler and Louis-Frederic Schützenberger.

Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city’s industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Art under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.

It was through Vernet’s recommendation that he was chosen by the American traveller John Lowell Jr. to accompany him on his journeys round the eastern Mediterranean, recording the scenes and ethnographic subjects they met with. They left Italy in spring 1834 and visited Greece, Turkey and Egypt, where they remained together until November 1835, when Lowell left for India. Gleyre continued his travels around Egypt and Syria, not returning to France until 1838. He returned to Lyons in shattered health, having been attacked with ophthalmia, or inflammation of the eye, in Cairo, and struck down by fever in Lebanon.

On his recovery he proceeded to Paris, and, establishing a modest studio in the rue de Université, began carefully to work out the ideas that had been slowly shaping themselves in his mind. Mention is made of two decorative panels “Diana Leaving the Bath”, and a “Young Nubian” as almost the first fruits of his genius; but these did not attract public attention until much later, and the painting by which he practically opened his artistic career was the “Apocalyptic Vision of St John”, sent to the Salon of 1840. This was followed in 1843 by “Evening”, which received a medal of the second class, and afterwards became widely popular under the title “Lost Illusions” (see above). It depicts a poet seated on the bank of a river, with his head drooping and a wearied posture, letting his lyre slip from a careless hand, and gazing sadly at a bright company of maidens whose song is slowly dying from his ear as their boat is borne slowly from his sight.

In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandisement and wealth. After 1845, when he exhibited the “Separation of the Apostles”, he contributed nothing to the Salon except the “Dance of the Bacchantes” in 1849. Yet he worked steadily and was productive. Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not “found his sky”.

Gleyre became influential as a teacher, taking over the studio of studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school. Though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, under Louis Philippe, his studio had been the rendezvous of a sort of liberal club. To the last — amid all the disasters that befell his country — he was hopeful of the future. It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles from Alsace and Lorraine, that he died suddenly on 5 May 1874. He had never married.

He left unfinished the “Earthly Paradise”, a picture, which Taine described as “a dream of innocence, of happiness and of beauty — Adam and Eve standing in the sublime and joyous landscape of a paradise enclosed in mountains, a worthy counterpart to the Evening”. His other works include “Deluge”, which represents two angels speeding above the desolate earth from which the destroying waters have just begun to retire, leaving visible behind them the ruin they have wrought; the “Battle of the Lemanus”, a piece of elaborate design, crowded but not encumbered with figures, and giving fine expression to the movements of the various bands of combatants and fugitives; the “Prodigal Son”, in which the artist has ventured to add to the parable the new element of mother’s love, greeting the repentant youth with a welcome that shows that the mother's heart thinks less of the repentance than of the return.

Other paintings of his are “Ruth and Boaz”; “Ulysses and Nausicaa”; “Hercules at the Feet of Omphale”; the “Young Athenian”, or, as it is popularly called, “Sappho”; “Minerva and the Nymphs”; “Venus and Adonis”; “Daphnis and Chloë”; and “Love and the Parcae”. He also left a considerable number of drawings and watercolours, and a number of portraits, among which is the sad face of Heinrich Heine, engraved in the Revue des deux mondes for April 1852. In Clement’s catalogue of his works there are 683 entries, including sketches and studies.

POETS UNITED - TEACHERS

“Personally I’m always ready to learn, although I do not always like being taught.” - Sir Winston Churchill

Poets United this week celebrates World Teachers’ Day, held annually on October 5 since 1994. Its aim is to mobilize support for teachers and to ensure that the needs of future generations will continue to be met by teachers. The challenge is to: “Bring a great teacher memory to life in a new poem. Or, if you don’t have one, use learning as your motif…”

Having been a teacher in my professional life, I can surely appreciate the benefits of good teaching when it generates deep and active learning. However, I have also seen some very bad teaching, which unfortunately can have the opposite result from what it intends to do. Education can happen in the most unexpected and delightful ways – a good teacher can facilitate this process of discovery and learning. A poor teacher shovels education into students as though they were empty vessels to be filled with facts, figures, dates and minutiae to be memorised and recalled parrot fashion. What use is to me to know how far away from the earth the moon is and what its precise diameter is, if I cannot appreciate a poem about the magic of moonlight?



Encounter

When we shall meet again

Let’s close our eyes, imagining

The moon as it used to be –

Distant, mysterious, full of hidden promises.

Let us forget bitter realities

Taught to us by our experience,

Throw to the winds the empty facts,

Taught to us by our zealous, short-sighted teachers.

Once more let us believe that

All is possible, all may happen;

Let us regain that most precious of things

That we have lost – Moonlight...

THE CRAZY ENGLISH LANGUAGE

“We have two ears and one mouth so that we can listen twice as much as we speak.” – Epictetus

I am reading at the moment, “Port Out Starboard Home”, by Michael Quinion. This is a marvellous book that will interest anyone who has a fascination with the vagaries of the English language. It examines the real etymology (origin) of a large number of words and phrases, but looks mainly at the fanciful stories that people have made up to explain how these odd words and phrases came about (ie: “etymythology”). Some of these these stories are very tall, highly amusing, a few ingenious, some ridiculous, and in other cases downright silly.

For example why is a Guinea pig so-called, when it is neither porcine nor from Guinea? Why are Americans nowadays loath to use the phrase “to call a spade a spade” and why perhaps we should all be saying instead “to call a trough a trough” in its place? Perhaps you would like to know why you should mind your P’s and Q’s but not worry about other letters of the alphabet? Or perhaps why women can’t testify, whereas any able-bodied male can…?

It all makes for captivating reading and proves that the English language is not only a very rich and highly interesting one, but a quirky and irrational one as well, a language precise enough to write philosophical treatises of great abstraction in, but at the same time one whose illogical grammar and whose prodigious vocabulary with its immense shades of meaning, its homonyms, homographs and homophones, can make learning it the nightmare of a foreigner, and drive even a native speaker to distraction.

For example:

The bandage was wound around the wound.

The farm was used to produce produce.

The dump was so full that it had to refuse more refuse.

We must polish the Polish furniture.

He could lead if he could get the lead out.

The soldier decided to desert and eat his dessert in the desert.

Since there is no time like the present, he thought it was time to present the present.

A bass was painted on the head of the bass drum.

When shot at, the dove dove into the bushes.

I did not object to the object.

The insurance was invalid for the invalid.

There was a row among the oarsmen about how to row.

They were too close to the door to close it.

The buck does funny things when the does are present.

A seamstress and a sewer fell down into a sewer line.

To help with planting, the farmer taught his sow to sow.

The wind was too strong to wind the sail.

After a number of injections my jaw got number.

Upon seeing the tear in the painting I shed a tear.

I had to subject the subject to a series of tests.

How can I intimate this to my most intimate friend?

He decided to cleave the piece of wood, but as soon as it was done he put his mind to cleave it into one piece again.

Or how about this anonymous piece that has been around for some time?

“Let’s face it, English is a crazy language. There is no egg in eggplant nor ham in hamburger; neither apple nor pine in pineapple. English muffins weren’t invented in England nor French fries in France. Sweetmeats are candies while sweetbreads, which aren’t sweet, are meat.

We take English for granted. But if we explore its paradoxes, we find that quicksand can work slowly, boxing rings are square and a guinea pig is neither from Guinea nor is it a pig. And why is it that writers write but fingers don’t fing, grocers don’t groce and hammers don’t ham? If the plural of tooth is teeth, why isn’t the plural of booth “beeth”? One goose, two geese. So one moose, two meese?

Doesn’t it seem crazy that you can make amends but not one amend, that you comb through annals of history but not a single annal? If you have a bunch of odds and ends and get rid of all but one of them, what do you call it? If teachers taught, why didn’t preachers praught? If a vegetarian eats vegetables, what does a humanitarian eat? If you wrote a letter, perhaps you bote your tongue?

Sometimes I think all the English speakers should be committed to an asylum for the verbally insane. In what language do people recite at a play and play at a recital? Ship by truck and send cargo by ship? Have noses that run and feet that smell? Park on driveways and drive on parkways?

How can a slim chance and a fat chance be the same, while a wise man and wise guy are opposites? How can overlook and oversee be opposites, while quite a lot and quite a few are alike? How can the weather be hot as hell one day and cold as hell another day. Have you noticed that we talk about certain things only when they are absent? Have you ever seen a horseful carriage or a strapful gown? Met a sung hero or experienced requited love? Have you ever run into someone who was combobulated, gruntled, ruly or peccable? And where are all those people who ARE spring chickens or who would ACTUALLY hurt a fly?

You have to marvel at the unique lunacy of a language in which your house can burn up as it burns down, in which you fill in a form by filling it out and in which an alarm clock goes off by going on.

English was invented by people, not computers, and it reflects the creativity of the human race (which, of course, isn’t a race at all). That is why, when the stars are out, they are visible, but when the lights are out, they are invisible. And why, when I wind up my watch, I start it, but when I wind up this essay, I end it.”

EDUCATION

“I have never let my schooling interfere with my education.” - Mark Twain

educate |ˈejəˌkāt| verb [ trans. ] (often be educated)

Give intellectual, moral, and social instruction to (someone, esp. a child), typically at a school or university: She was educated at a boarding school.

• Provide or pay for instruction for (one's child), esp. at a school.

• Give (someone) training in or information on a particular field: [ trans. ] The need to educate people to conserve water | A plan to educate the young on the dangers of drug-taking.

DERIVATIVES

educability |ˌejəkəˈbilitē| noun

educable |-kəbəl| adjective

educative |-ˌkātiv| adjective

educator |-ˌkātər| noun

ORIGIN late Middle English: from Latin educat- ‘led out,’ from the verb educare, related to educere ‘lead out’

Education is universally regarded as something that all people should have, something all should experience and derive benefit from. While hardly none would disagree with this, the model that is used to educate people at various levels of schooling gives rise to great debate. Different models of education, widely varying in their approach coexist side by side and are more or less effective. Public and privately funded educational systems have their supporters and opponents, and each has its merits and pitfalls.

Preschool and primary school education is regarded as the foundation-building stage, in which basic skills in literacy and numeracy are acquired. The child at this level develops not only the intellectual skills needed to deal with the influx of new fundamental information, but also the motor skills required in the process of writing legibly, social skills that underpin a harmonious co-existence with other people and the beginnings of higher mentative processes, such as those that are needed for ethical/moral discrimination, artistic and musical appreciation, etc.

Secondary schooling allows for the development of a broad acquisition of knowledge in the humanities and sciences. Language and art, history and literature, physical and biological sciences are introduced at suitable levels throughout the school career and training in independent critical thinking processes begins, with logical and analytical skills being honed, especially so in the later years of this educative process. The character development that was begun in primary school is fine-tuned here. Secondary students have to deal with a large variety of issues, including the obvious biological one of puberty that will impinge on their learning.

Tertiary level education involves the student in a journey of self-discovery where thoughts and mentative processes can be examined in detail, where information is not only passively acquired, but where it is analysed, critically evaluated and reprocessed. The world versus the self are contrasted and the student will need to deal with the conflicts that arise therefrom. The tertiary study experience should act as the springboard for original thinking and problem-solving in unfamiliar situations, and should result in creative intellectual activity, and in organised and logical thought.

Having worked as an academic at a University for many years has given me an immense sense of responsibility towards my students, my colleagues and the community. I try to uphold a certain standard of educational experience in a system that has come under a great deal of pressure and stress in the last few years. We have survived various forms of reorganisation, rationalisation and changes of management. We have redesigned the curricula, updated programs and courses, and have had to cope with several changes in the way the students are selected for admission. To be an academic in such an environment is extremely labour-intensive and often frustrating, but at the same time it is infinitely rewarding. One certainly does not persist in being an academic for the pay involved!

One of my concerns in recent years is the declining academic standard of the average university student. The question arises of why this should be so, even if one is aware of the increasing pressures of government, society and family to push more secondary students into the tertiary sector, rather than directly into the workforce. I suspect that the basic problem arises in secondary and primary school level. There are students in secondary schools that have basic literacy and numeracy skill deficiencies. The wife of one of my colleagues teaches in a secondary school (admittedly, it is in a lower socioeconomic class suburb), but she maintains that even children born here, from families of native speakers of English, have immense trouble with basic reading and writing. She complains that when these children come to high school from primary school, some of them can barely read and write.

We live in a society that is increasingly reliant on technology. A society that will depend more and more on an educated population in order to cope with the information revolution that has changed our lives dramatically in the last couple of decades. We require specialised, analytical, quick-thinking, problem-solving educated people in our society and yet we find that we have rather poor raw material in our universities to work with. How can such a problem be resolved?

What is to blame for this deterioration in educational standards that seems to be occurring worldwide? What do you think?

MOVIE MONDAY - THAT'S WHAT I AM

“Most of us end up with no more than five or six people who remember us. Teachers have thousands of people who remember them for the rest of their lives.” - Andy Rooney

We watched a delightful film at the weekend, which surprised us pleasantly as we were expecting something a little different. It was the 2011 Mike Pavone film “That’s What I Am”, starring Ed Harris, Chase Ellison, Molly Parker, Alexander Walters and Amy Madigan. It is a coming-of-age story set in 1965 that follows 12-year-old Andy Nichol (Chase Ellison), a bright student who, like most kids his age, will do anything to avoid conflict for fear of suffering overwhelming ridicule and punishment from his junior high school peers. His gifted teacher, Mr Simon (Ed Harris), will allow Andy to grow and realise his potential through the difficult times.

The screenplay was written by the director and it has a genuineness about it, that which comes from relating personal experiences. It may be based on autobiographical details, which is also aided by the first person narrative that is used throughout the film as though a novel is being read – this in fact may be the only obvious fault of the film. Otherwise this was an engaging and winsome movie that was extremely watchable and made several points about tolerance, peaceful coexistence and realising one’s potential through doing what comes naturally and utilising one’s own talents.

The plot centres on Andy, a cool young kid who is paired off with “Big G” (Alexander Walters), a social outcast, to do a project for class. Although this seems to be a mismatch, Mr Simon (Ed Harris), their charismatic teacher can see the potential of both kids and is banking on both of them developing their characters positively through the interaction. We expected the film to develop the theme of the unlikely friendship, but this is only used to focus on other issues in the 1960s. Many of these issues are accepted today as norms but back then they were new, and hence fearful. The movie mixes humour with the dark themes, and there are some poignant twists that make one’s eye moisten.

The acting is very good all round, and Ed Harris is excellent in what is after all a supporting role. The schoolkids are what make the film and all of these young actors do a great job. Also well acted are the roles of the school principal and the parents of the children. The music, costumes, sets and cinematography are all great and they support the action with a real, believable window into the 1960s.

We enjoyed this movie a lot and would recommend it to everyone who wishes to relax and enjoy a film that makes a powerful statement about growing up and making the world a better place through tolerance, compassion and utilisation of one’s talents and abilities. It is akin to the “Wonder Years” and if you enjoyed that, you will certainly enjoy this movie as well.