THE REMINISCENCES OF CARL SCHURZ
advantage—in one word, that the pupil in school should learn how to learn. This requires not only appropriate methods of teaching, but also individual ability of the teacher to judge of the capacities of his pupil, to put those capacities into activity and to guide and inspire them. And just in these respects I was uncommonly fortunate in my years at the gymnasium.
The head master of the lowest class was, in my time, a young Westphalian, Heinrich Bone, whom I remember with especial gratitude. At a later period he became widely known as a teacher of exceptional ability. He instructed us not only in Latin, but also in German; and he strictly held to the principle that clearness and directness of expression are the fundamental requisites of a good style. Instead of wearying his pupils with dry grammatical rules, he gave them at once short compositions to write, not upon subjects like “The Beauty of Friendship,” or “The Uses of Adversity,” but simple descriptions of things actually seen—a house, a group of people, a picture, and the like. He required these compositions to be rendered in the simplest possible sentences, without any complication or ornament. The most important rule, however, which he enforced with especial emphasis was this: every noun, every adjective, every verb, must express some object or some quality, or some act perceptible to the senses. All that was vague or abstract or not perceptible to the senses was at first severely forbidden. In this manner he accustomed his pupils to see clearly whatever was before their eyes, and then to set forth the impression received in words so concise and clear-cut that their meaning was unmistakable.
When we had attained a certain degree of efficiency in this very simple exercise, we were allowed to enlarge the form of our sentences, but only for the purpose of presenting more clearly and fully some vivid picture. Thus we were led step
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