1915,
Vol. X, p. 332; _The Survey of Progress in Religious and Moral
Education_, Rel. Educ. 1915, Vol. X, p. 114.

[2] None of these does all of the things described, but all of them do
at least some one of them.

[3] Dewey, _Ethical Principles Underlying Education_.

[4] _Ideals in Religious Education_, R.E.A., June, 1917, p. 185.

[5] _Ibid._, p. 94.

[6] Dewey, _Ethical Principles Underlying Education_.

[7] _Pedagogical Bible School_, page 207.

[8] R. E. A., April 19, 1917, page 123.

THE AFTERMATH OF NAT TURNER'S INSURRECTION[1]

Nat Turner was a man below the ordinary stature, though strong and
active. He was of unmixed African lineage, with the true Negro face,
every feature of which was strongly marked. He was not a preacher, as
was generally believed, though a man of deep religious and spiritual
nature, and seemed inspired for the performance of some extraordinary
work. He was austere in life and manner, not given to society, but
devoted his spare moments to introspection and consecration. He
thought often of what he had heard said of him as to the great work he
was to perform. He eventually became seized with this idea as a
frenzy. To use his own language he saw many visions. "I saw white
spirits and black spirits engaged in battle," said he, "and the sun
darkened--the thunder rolled in the heavens, and blood flowed in
streams and I heard a voice saying, 'Such is your luck, such you are
called to see and let it come rough or smooth you must surely bear
it,'"[2] This happened in 1825. He said he discovered drops of blood
on the corn as though it were dew from heaven, that he found on the
leaves in the woods hieroglyphic characters and numbers, with the
forms of men in different attitudes, portrayed in the blood and
representing the figures he had previously seen in the heavens.[3]
These were without doubt creatures of Nat Turner's own imagination
made by him with coloring matter to make the Negroes believe that he
was a prophet from God.

Receiving, as he says, further directions from the Holy Spirit, he
communicated his designs to four of his most confidential friends.
July 4, 1831, the anniversary of American Independence, was the day on
which the work of death was to have been begun. Nat Turner hesitated
and allowed the time to pass by, when, the mysterious signs
reappearing, he determined to begin at once the bloody work. Sunday,
August 21, he met those who had pledged their cooperati