=Beginning at the point of contact relates the subject to the life of the student=
It was pointed out in a previous illustration that the college student "taking philosophy" is seldom made to feel that the subject he studies is related to the problems that arise in his own life. Too frequently introductory courses in philosophy are historical and extensive in scope, striving to develop mastery of facts rather than to give new viewpoints. The student learns names of philosophers, and attempts to memorize the philosophic system developed by each thinker. Such a course imposes a heavy burden on retentive power, for no little effort is required to remember the distinctive philosophical systems advocated by the respective writers. To the students these philosophers represent a group of peculiar people differing one from the other in their degrees of "queerness." One system is as far removed as another from the life that the student experiences; no system helps him to find himself. An introductory course in philosophy should begin with the problems of philosophy; it should have its origin in the reflective and speculative problems of the student himself. As the course progresses, the student should feel a growing sense of power, an increasing ability to formulate more clearly, to himself at least, the questions of religion and ethics that arise in the life of a normal thinking person. So, too, courses in ethics and psychology lose the vital touch unless they begin in the life of the student and apply their lessons to his social and intellectual environment.
It must be pointed out, however, that the social sciences lend themselves more readily to this intimate treatment than do languages, or the physical sciences, but at all points possible in the study of a subject, the experience of the student must be introduced as a means of giving the subject real meaning. In teaching composition and rhetoric illustrations of the canons of good form need not be restricted to the past. Current magazines and newspapers are not devoid of effective illustrations. When the older literary forms are used exclusively as models of language, the student ends his course with the erroneous notion that contemporary writing is cheap and sensational and devoid of artistic craftsmanship.