What are Charlotte Mason's thoughts on grammar and composition? Listen to this podcast to hear some of her rationale for these subjects, to dispel myths about the Charlotte Mason method and the subject of writing, as well as these moms' experience with teaching these technical and creative written skills.
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"[G]rammar, being a study of words and not things, is by no means attractive to the child, nor should he be hurried into it." (Vol. 1, p. 295)
"Children will probably be slow to receive this first lesson in abstract knowledge, and we must remember that knowledge in this sort is difficult and uncongenial. Their minds deal with the concrete and they have the singular faculty of being able to make concrete images out of the merest gossamer of a fairy tale." (Vol. 6, p. 210)
"But a child cannot dream parts of speech, and any grown-up twaddle attempting to personify such abstractions offends a small person who with all his love of play and nonsense has a serious mind." (Vol. 6, p. 210)
"Our business is to provide children with material in thier lessons, and leave the handling of such material to themselves...They should narrate in the first place, and they will compose, later, readily enough; but they should not be taught 'composition.'" (Vol. 1, p. 247)
"It is not enough that a child should learn how to write, he must know what to write." (Vol. 6, p. 234)
"In fact, lessons on 'composition' should follow the model of that famous essay on "Snakes in Ireland"––"There are none."" (Vol. 1, p. 247)
"If we would believe it, composition is as natural as jumping and running to children who have been allowed due use of books." (Vol. 1, p. 247)
If you would like to study along with us, here are some passages from The Home Education Series and other Parent's Review articles that would be helpful for this episode's topic. You may also read the series online here, or get the free Kindle version from Fisher Academy.
Home Education (Volume 1), Part V, XIII
An Essay Towards a Philosophy of Education (Volume 6), Book I, Chapter 10, Section II: Knowledge of Man: Composition & Knowledge of Man: Grammar
The Bedford Handbook
The Elements of Style
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This episode marks the one year anniversary of this Charlotte Mason podcast. Over the past year, we have received dozens of questions from our listeners and this Q&A is exemplary of the requests we receive and our attempt to address widely varying topics, namely this week: where to find out-of-print living books, the relevance of Charlotte Mason today and the practice of "scaffolding" lessons.
This week's Charlotte Mason podcast is another Q&A session with Emily, Nicole, and Liz. It is inevitable, as we implement the feast, that questions of presentation and content arise about details not mentioned in the designated episodes on those subjects, and here are some of the latest ones.
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"Never be within doors when you can rightly be without>" (Vol. 1, p. 42)
"There is no selection of subjects, passages, or episodes on the ground of interest." (Vol. 6, p. 244)
Anne White's Plutarch Books can be found here
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Nancy Kelly on Plutarch
Anne White's Study Guides free online
Overdrive Media Console
In this week's podcast, we discuss why Shakespeare was always included in Charlotte Mason's curriculum. What is the value of Shakespeare as part of the study of literature, and how can we who have little experience with his works enter in and enjoy his feast?
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"Just as we partake of that banquet which is 'Shakespeare' according to our own needs and desires, so do the children behave at the ample board set before them; there is enough to satisfy the keenest intelligence while the dullest child is sustained through his own willing effort." (Vol. 6, p. 245)
"We probably read Shakespeare in the first place for his stories, afterwards for his characters, the multitude of delightful persons with whom he makes us so intimate that afterwards, in fiction or in fact, we say, 'She is another Jessica,' and 'That dear girl is a Miranda'; 'She is a Cordelia to her father,' and, such a figure in history, 'a base lago.' To become intimate with Shakespeare in this way is a great enrichment of mind and instruction of conscience. Then, by degrees, as we go on reading this world-teacher, lines of insight and beauty take possession of us, and unconsciously mould our judgments of men and things and of the great issues of life." (Vol. 4, p. 72)
"This is what Shakespeare, as great a philosopher as a poet, set himself to teach us, line upon line, precept upon precept. His 'Leontes,' 'Othello,' 'Lear,' 'Prospero,' 'Brutus,' preach on the one text––that a man's reason brings certain infallible proofs of any notions he has wilfully chosen to take up. There is no escape for us, no short cut; art is long, especially the art of living." (Vol. 6, pp. 314-15)
"And Shakespeare? He, indeed, is not to be classed, and timed, and treated as one amongst others,––he, who might well be the daily bread of the intellectual life; Shakespeare is not to be studied in a year; he is to be read continuously throughout life, from ten years old and onwards. But a child of ten cannot understand Shakespeare. No; but can a man of fifty? Is not our great poet rather an ample feast of which every one takes according to his needs, and leaves what he has no stomach for?" (Vol. 5, p. 224)
Something Wicked This Way Comes, Ray Bradbury
The Winter of Our Discontent, John Steinbeck
Brave New World, Aldous Huxley
Roller Skates, Ruth Sawyer
The Wonderful Winter, Marchette Chute
Tales from Shakespeare, Charles and Mary Lamb
Beautiful Stories from Shakespeare, E. Nesbit
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Interview with Nancy Kelly
Chronological List of Shakespeare's Plays
American Shakespeare Center