Right now, roughly 1,000 schools -- public, private, rural, urban, and suburban -- are implementing a curriculum plan called the Core Knowledge Sequence. That number is slated to increase significantly in the fall: Under the new Common Core State Standards, the state of New York is recommending the Core Knowledge Language Arts program for preschool through second grade.
It won't be long before the Core Knowledge program will have helped educate more than a million children -- an estimate that doesn't count the several million children whose parents have taken them through Core Knowledge books such as What Your First-Grader Needs to Know. Judging from the evidence, this is a good thing. The Core Knowledge curriculum is based on the idea that students need actual knowledge, not just thinking skills, in order to succeed. As the program's website explains:
It's natural to assume that teaching lots of "stuff" isn't important anymore when students can simply Google anything they need to know. But you probably take for granted how much "walking-around knowledge" you carry inside your head -- and how much it helps you. If you have a rich base of background knowledge, it's easier to learn more. And it's much harder to read with comprehension, solve problems and think critically if you don't.
As I turn 85, I find myself looking back on my own intellectual history with Core Knowledge. I've written four books on the theory behind all this activity. But the thought occurs: Perhaps sharing my personal epiphanies might be a good way of helping others understand the program's character and scientific origins. More important, perhaps it would help mitigate two misconceptions: that reading is a technical skill and that Core Knowledge is impelled by reactionary nostalgia.
A crucial moment occurred about 60 years ago as I was in my first semester of teaching English to Yale freshmen. The poem under discussion that day was "Valediction Forbidding Mourning" by John Donne, and my interpretation was being challenged by a very sharp undergraduate.
The poem starts this way:
AS virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say,
"Now his breath goes," and some say, "No."
So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move;
'Twere profanation of our joys
To tell the laity our love.
The undergraduate insisted that it was a poem about death, since the poem forbids "mourning" and offers the image of a man dying quietly.
Most professors of English would agree that this is not a poem about dying. In Donne's day, the word "mourning" did not have the limited, mortuary connotation it has now. True, the poet does say he is departing from his beloved, but he's going on a real geographical trip. In the rest of the poem he explains that he'll be coming back, and they will renew their love as before. The valediction is a "be seein' ya," not a "farewell."
But nonetheless the poem can be read as a permanent farewell. In Donne's famous image of a compass, the twin legs part from each other, then one leg takes a circular trip, but then the two legs come back together. All that could be read as a reuniting of two souls after death. There are other clues that make death a plausible interpretation -- not just the word "mourning" in the title, but also the image of the dying man, and the poet's insistence that he and his beloved are not like "dull sublunary lovers" who depend on each other's physical presence. That could suggest some sort of posthumous spiritual reunion.
But my bright undergraduate didn't even need to bring out those detailed arguments. He made a more decisive theoretical observation: He pointed out that then-current literary theory held that the intention of the poet is irrelevant. A poem goes out into the world as an artwork, a "verbal icon," to be interpreted as readers wish, so long as their interpretations follow the public norms and conventions of language. That doctrine meant, said the undergraduate, that his reading of the poem was just as valid as my reading, since both followed public norms and conventions. My immediate response was that his logic was absolutely right.
So, why was I teaching this class?
In 1954, Yale was the vibrant center of the "New Criticism" that had already begun to take over the teaching of literature in the high schools, mainly through the phenomenally successful textbook by Cleanth Brooks and Robert Penn Warren called Understanding Poetry. The theory was that you didn't need to have a lot of biographical or historical information to understand poetry. You could learn to read any poem if you knew poetic conventions and techniques. The other influential text was The Verbal Icon by William K. Wimsatt, who, like Brooks, had been a professor of mine at Yale. All of them became dear friends despite our disagreements.
In those heady days when the Yale English department was rated tops in the nation, it had the feeling almost of a theological seminary for the new doctrines that freed the study of literature from its pedantic, historical trappings and treated works of literature intrinsically as literature -- as "verbal icons." Under this theory, the argument that my student made was right. His "reading" was just as valid as mine. Once he had mastered Understanding Poetry, why should I, or anyone, need to teach him how to read Donne's poem?
Five years passed. I was now back from a Fulbright in Germany where I had completed my dissertation on William Wordsworth and Friedrich Schelling, and I was teaching at Yale again. I now thought I was ready to respond to the undergraduate's challenge. I had explained in the introduction to my dissertation just why you do really need to know quite a lot of extrinsic things to understand even the simplest poem of Wordsworth.
When I was in Germany, I had eagerly read the works of humanistic theorists like Wilhelm Dilthey and philosophers like Edmund Husserl. I had also begun to read linguistics and cognitive psychology. I wrote up my musings as a 1960 article called "Objective Interpretation" in the Publications of the Modern Language Association. Besides citing a lot of eminent German theorists, I offered a concrete example: a simple Wordsworth poem along with two very different interpretations, one by Cleanth Brooks and the other by historical scholar F. W. Bateson. Here is the poem:
A SLUMBER did my spirit seal;
I had no human fears:
She seem'd a thing that could not feel
The touch of earthly years.
No motion has she now, no force;
She neither hears nor sees;
Roll'd round in earth's diurnal course
With rocks, and stones, and trees.
In Brooks's view, the poem evokes a sense of futility -- the lover's "agonized shock" at watching his beloved turn into an inert object like a rock, stone, or tree:
Part of the effect, of course, resides in the fact that a dead lifelessness is suggested more sharply by an object's being whirled about by something else than by an image of the object in repose. But there are other matters which are at work here: the sense of the girl's falling back into the clutter of things, companioned by things chained like a tree to one particular spot, or by things completely inanimate like rocks and stones. ... [She] is caught up helplessly into the empty whirl of the earth which measures and makes time. She is touched by and held by earthly time in its most powerful and horrible image.
In contrast, F. W. Bateson sees the poem building up to a sense of "pantheistic magnificence":
The vague living-Lucy of this poem is opposed to the grander dead-Lucy who has become involved in the sublime processes of nature. We put the poem down satisfied, because its last two lines succeed in effecting a reconciliation between the two philosophies or social attitudes. Lucy is actually more alive now that she is dead, because she is now a part of the life of Nature, and not just a human "thing."
As someone deeply immersed in Wordsworth, I could say authoritatively that Bateson caught the poet's intended sense pretty well: He knew that nothing was really dead in Wordsworth's nature. As the poet wrote in "The Prelude Book, III":
To every natural form, rock, fruits, or flower,
Even the loose stones that cover the highway,
I gave a moral life: I saw them feel,
Or linked them to some feeling: the great mass
Lay bedded in a quickening soul, and all
That I beheld respired with inward meaning.
If Wordsworth had meant to imply the "dead, dead inertness" that Brooks found in the poem's conclusion, he would hardly have ended the series "rocks and stones and trees."