Write my paper one day

This fact furnishes a further reason for having short practice periods at frequent intervals. The periods of rest following practice play an important part in the perfecting of muscular adjustments. Johnson con- ducted an experiment, in which seven persons tapped the cor- ners of an equilateral triangle. The practice was continued over a period of from six to eleven days. He found that the greatest gain in rapidity and regularity of movement was made in the early part of the practice before fatigue began. A short interval of rest, followed by a renewal of the practice, resulted in fresh effort and further improvement. This ex- periment shows clearly that short periods write my paper one day of practice and rest alternating are more beneficial than single long practice periods.

The rest periods play their part by giving time for the muscular adjustments to take place. These are the essential require- ments for profitable and interesting practice. Periods in the learning process must be expected when no appreciable progress will be seen.

The old maxim, "Make haste slowly," must never be forgotten by the teacher of writing. So, too, in the famous practice curves obtained by Bryan and Harter in their study of telegraphy, the plat- eaus, which mark periods of apparent lack of progress or even retrogression, indicate also the time when successful co-ordinations arfe being automatized. When these adjust- ments and co-ordinations become sufficiently automatic, the learner is again in a position to advance, and will progress with great rapidity for some time, until the new co-ordina- tions learned become sufficiently numerous and difficult to require another period of automatization. Very plainly, these periods are of the utmost value and importance, and on no account should they be curtailed, as the result must be an increasing inability to progress, a confusion of mind and a consequent loss of interest and effort in learning. The type of material for successful practice remains for discussion. The easy method for the teacher is to use copy- books, but this must prove ineffective for the pupil. It has been shown that visual con- trol necessitates slow writing. If a copy book is used, natur- ally the pupil aims to approximate the copy as closely as pos- sible. Such an aim must involve visual control to such an extent that free rapid writing becomes an impossibility. Further, practice for the more proficient writer should allow him to express his own thought, to use writing as a means, not an end. The learner should have practice in thinking and writing at the same time — and the thinking may be anything except the writing. How is that possible, write my paper one day when, if using a copy-book, the thought of the writer must be centred upon the copy to be followed and the success or failure of his own imitation?

The only excuse for using copy-books in class-room is that they furnish a standard of form to which reference may be made from time to time when needed, just as a dictionary may be kept as a standard of reference. Surely, however, a child receives more benefit from a viva-voce explanation of the meaning of a word from the teacher, and a drill upon its uses, than it possibly could from a dictionary. In the same way, a good teacher can do infinitely more for a child by showing how to make a correct form than any number of references to a copy-book will do.

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Good teaching, not the standards of form engraved in copy-books, must be relied upon to produce good writing in our schools. The best form of practice is that in which the child ex- presses its own thoughts in writing while thinking. In no other way can it ever reach the point where the writing act becomes purely automatic and a help, not a hindrance, to thought.

As soon as the initial difficulties are mastered, the child must be gradu- ally practised in thinking while writing, for in so doing the emphasis is laid upon the thought, and the muscle and tactile sensations have to take charge of the act of writing. Many a child is told continually to think about his writing, when, as 53 a matter of fact, he should be told to write his thought and to try to forget that he is writing at all. So the good writer will write without thought of his writing. The material for practice must be original composi- tion, as it offers the only work by which the child can be trained to write his thoughts with the least consciousness of the act of writing, and consequently the greatest ease and rapidity. IT has already write my paper one day been pointed out that the writing act in- volves not only adjustments of the fingers, hand, wrist, arm and shoulder, but also of the central organism.

These adjustments must be considered by the teacher of writing both with a view to facilitating the best and easiest move- ment, and also with regard to their effect upon the health of the child. Fur- ther, the question of fatigue, important in all pedagogical dis- cussions, must be considered in reference to the writing act. The following method of holding pen or pencil has been widely adopted in recent years, and its use has given good results. The pen should be held between the thumb and sec- ond finger.

The tip of the thumb should be at least one inch from the pen point. The second finger curves across write my paper one day the under side of the penholder so that the holder rests against the first joint. The tip of the index finger rests write my paper one day upon the upper surface of the penholder somewhat nearer the point than the tip of the thumb. The thumb and index finger are slightly curved, the second finger is curved to a greater extent. The third and fourth fingers act as a point of support for the active fingers. In this way it is possible to control accurately the move- ment of the pen, as the index finger presses downwards, the thumb to the right, the second finger upwards and to the left.

The slight curvature of the thumb and fingers permit suffici- ent flexibility to ensure accurate letter formation. If the fingers are not sufficiently curved, their flexibility is lost, and it is impossible for them to carry out adequately their task of letter formation. Too great a curvature necessitates a very tight grip upon the pen and the result is a cramping which pre- 55 vents fast writing and is very fatiguing. It is due to a too violent contraction of the muscles which flex the fingers, and in ad- vanced cases is almost incurable. Many people adopt other methods of pen-holding as alter- native positions to use when fatigued.

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