Flexibility and initiative in dealing with problems are characteristic of any conception to which method is a way of managing material to develop a conclusion. Mechanical rigid woodenness is an inevitable corollary of any theory which separates mind from activity motivated by a purpose.
2. Method as General and as Individual.—In brief, the method of teaching is the method of an art, of action intelligently directed by ends. But the practice of a fine art is far from being a matter of extemporized inspirations. Study of the operations and results of those in the past who have greatly succeeded is essential. There is always a tradition, or schools of art, definite enough to impress beginners, and often to take them captive. Methods of artists in every branch depend upon thorough acquaintance with materials and tools; the painter must know canvas, pigments, brushes, and the technique of manipulation of all his appliances. Attainment of this knowledge requires persistent and concentrated attention to objective materials. The artist studies the progress of his own attempts to see what succeeds and what fails. The assumption that there are no alternatives between following ready-made rules and trusting to native gifts, the inspiration of the moment and undirected "hard work," is contradicted by the procedures of every art.
Such matters as knowledge of the past, of current technique, of materials, of the ways in which one's own best results are assured, supply the material for what may be called general method. There exists a cumulative body of fairly stable methods for reaching results, a body authorized by past experience and by intellectual analysis, which an individual ignores at his peril. As was pointed out in the discussion of habit-forming (ante, p. 58), there is always a danger that these methods will become mechanized and rigid, mastering an agent instead of being powers at command for his own ends. But it is also true that the innovator who achieves anything enduring, whose work is more than a passing sen-