Many of us will feel with Froebel that the fairy-tale, with its slumbering premonition of being surrounded by that which is higher and more "conscious than ourselves,"[25] has its place, and an important place, in religious development.
[Footnote 25: P. 85.]
The "fairy sense," says Dr. Greville Macdonald, "is innate as the religious sense itself ... the fairy stories best beloved are those steeped in meaning--the unfathomable meaning of life ... such stories teach--even though no lesson was intended--the wisdom of the Book of Job: wisdom that by this time surely should have made religious teaching saner, and therefore more acceptable."[26]
[Footnote 26: "The Fairy-Tale in Education," by Greville Macdonald, M.D., _Child Life_, Dec. 1918.]
Fairies, like angels, may be G.o.d"s messengers. A child who had heard of St. Cuthbert as a shepherd boy being carried home from the hillside when hurt, by a man on a white horse, repeated the story in her own words, "and he thought it was a fairy of G.o.d"s sent to help him."
There is, however, nothing the children love more than the Bible story, the story which shows, so simply, humanity struggling as the children struggle, failing as the children fail, and believing and trusting as the children believe, and as we at least strive to do, in the ultimate victory of Right over Wrong, of Good over Evil. But just because the stories are often so beautiful and so inspiring, the teacher should have freedom to deal with them as the spirit moves her.
What experience has taught me in this way has already been pa.s.sed on to younger teachers in _Education by Life_, and there seems little more to add.
Wonders chiefly at himself Who can tell him what he is.
It is for us to tell the child what he is, that he, too, like all the things he loves, is a manifestation of G.o.d. "I am a being alive and conscious upon this earth; a descendant of ancestors who rose by gradual processes from lower forms of animal life, and with struggle and suffering became man."[27]
[Footnote 27: _The Substance of Faith Allied with Science_, Sir Oliver Lodge (Methuen).]
"The colossal remains of shattered mountain chains speak of the greatness of G.o.d; and man is encouraged and lifts himself up by them, feeling within himself the same spirit and power."[28]
[Footnote 28: _The Education of Man_.]
CHAPTER XI
RHYTHM
Lo with the ancient roots of Man"s nature Twines the eternal pa.s.sion of song.
The very existence of lullabies, not to mention their abundance in all countries, the very rockers on the cradles testify to the rhythmic nature of man in infancy.
In his _Mother Songs_, Froebel couples rhythm with harmony of all kinds, not only musical harmony but harmony of proportion and colour, and in urging the very early training of "the germs of all this," he gives perhaps the chief reason for training. "If these germs do not develop and take shape as independent formations in each individual, they at least teach how to understand and to recognise those of other people.
This is life-gain enough, it makes one"s life richer, richer by the lives of others."
It is to the genius of M. Jacques Dalcroze that the world of to-day owes some idea of what may be effected by rhythmic training, and M. Dalcroze started his work with the same aim that Froebel set before the mother, that of making the child capable of appreciation, capable of being made "richer by the lives of others." But Froebel prophesied that far more than appreciation would come from proper rhythmic training, and this M.
Dalcroze has amply proved.
"Through movement the mother tries to lead the child to consciousness of his own life. By regular rhythmic movement--this is of special importance--she brings this power within the child"s own conscious control when she dandles him in her arms in rhythmic movements and to rhythmic sounds, cautiously following the slowly developing life in the child, arousing it to greater activity, and so developing it. Those who regard the child as empty, who wish to fill his mind from without, neglect the means of cultivation in word and tone which should lead to a sense of rhythm and obedience to law in all human expression. But an early development of rhythmic movement would prove most wholesome, and would remove much wilfulness, impropriety and coa.r.s.eness from his life, movements, and action, and would secure for him harmony and moderation, and, later on, a higher appreciation of nature, music, poetry, and art"
_(Education of Man_).
Here, then, is an aim most plainly stated, "higher appreciation of nature, music, poetry and art," and if we adopt it, we must make sure that we start on a road leading to that end.
To Kindergarten children, apart from movement, rhythm comes first in nursery rhymes, and if we honestly follow the methods of the mother we shall not teach these, but say or sing them over and over again, letting the children select their favourites and join in when and where they like. This is the true _Babies" Opera_, as Walter Crane justly names an ill.u.s.trated collection. Froebel"s _Mother Songs_, though containing a deal of sound wisdom in its mottoes and explanations, is an annotated, expurgated, and decidedly pedantic version of the nursery rhymes of his own country. That these should ever have been introduced to our children arose from the fact that the first Kindergarten teachers, being foreigners, did not know our own home-grown productions. Long since we have shaken off the foreign product, in favour of our own "Sing a Song of Sixpence," "Baa, Baa, Black Sheep" and their refreshingly cheerful compeers. Froebel"s book suggests songs to suit all subjects and all frames of mind--the wind, the moon, and stars, the farm with its cows and sheep, its hens and chickens, the baker and carpenter, fish in the brook and birds in nests, the garden and the Christmas fair.
We can supply good verses for all these if we take pains to search, and if we eschew ignorant and unpoetic modern doggerel as we eschew poison.
Besides the nursery rhymes, we have Stevenson, with his "Wind,"
"Shadow," and "Swing," Christina Rossetti"s "Wrens and Robins," her "Rainbow Verses" and "Brownie, Brownie, let down your milk, White as swansdown, smooth as silk." There are many others, and a recent charming addition to our stock is "Chimneys and Fairies," by Rose Fyleman. One thing we should not neglect, and that is the child"s sense of humour.
For the very young this is probably satisfied by the cow that jumps over the moon, the dish that runs after the spoon, Jill tumbling after Jack, and Miss m.u.f.fet running away from the spider. But older children much enjoy nonsense verses by Lewis Carroll or by Lear, and "John Gilpin" is another favourite.
It is a mistake to keep strictly within the limits of a child"s understanding of the words. What we want here, as in the realm of Nature, is joy and delight, the delight that comes from musical words and rhythm, as well as from the pictures that may be called up. Even a child of four can enjoy the poetry of the Psalms without asking for much understanding.
The mother repeats her rhymes and verses solely to give pleasure, and if our aim is the deepening of appreciation, there is no reason for leaving the green and gra.s.sy path that Nature has showed to the mother for the hard and beaten track of "recitation." In our own Kindergarten there has never been either rote learning or recitation. The older children learn the words of their songs, but not to a word-perfect stage, because words and music suggest each other. Except for that we just enjoy our verses, the children asking for their favourites and getting new ones sometimes by request sometimes not. Anything not enjoyed is laid aside.
We need variety, but everything must be good of its kind, and verses about children are seldom for children. Because children love babies, they love "Where did you come from, baby dear?" but nothing like Tennyson"s "Baby, wait a little longer," and especially nothing of the "Toddlekins" type has any place in the collection of a self-respecting child. It is doubtful if Eugene Field"s verses are really good enough for children.
All children enjoy singing, but here, as in everything, we must keep pace with development, or the older ones, especially the boys, may get bored by what suits the less adventurous. In all cases the music should be good and tuneful, modelled not on the modern drawing-room inanity, but on the healthy and vigorous nursery rhyme or folk song.
Children also enjoy instrumental music, and will listen to piano or violin while quietly occupied, for example if they are drawing. One Nursery School teacher plays soft music to get her babies to sleep, and our little ones fidget less if some one sings softly during their compulsory rest.
"The Kindergarten Band" is another way in which children can join in rhythm. It came to us from Miss Bishop and is probably the music referred to in the description of the Pestalozzi-Froebel House. The children are provided with drums, cymbals, tambourines, and triangles, and keep time to music played on the piano. They can do some a.n.a.lysis in choosing which instruments are most suitable to accompany different melodies or changes from grave to gay, etc. A full account was given in _Child Life_ for May 1917.
Several years ago, knowing nothing of M. Dalcroze, Miss Marie Salt began an experiment, the results of which are likely to be far-spreading and of great benefit. Desiring to help children to appreciation of good music, Miss Salt experimented deliberately with the Froebelian "learn through action," and her success has been remarkable. Because of its freedom from any kind of formality, this system is perhaps better suited to little children than the Dalcroze work, unless that is in the hands of an exceptionally gifted teacher. M. Dalcroze himself is delightfully sympathetic with little ones.
Miss Salt tells her own story in an appendix to Mr. Stewart Macpherson"s _Aural Culture based on Musical Appreciation._
Good music is played and the children listen and move freely in time to it, sometimes marching or dancing in circles, sometimes quite freely "expressing" whatever feeling the music calls forth in them. The stress is laid on listening; if you see a picture you reproduce it, if the music makes you think of trees or wind, thunder or goblins, you become what you think of. It is astonishing to see how little children learn in this way to care for music by Schumann, Mendelssohn, Grieg, Dvorak, Brahms, Chopin, and Beethoven. The music is of course selected with skill, and care is taken that the "expression" shall not make the children foolishly self-conscious. Emphasis is always placed on listening, and the children"s appreciation is apparent. Such appreciation must enrich their lives.
CHAPTER XII
FROM FANCY TO FACT
Creeps ever on from fancy to the fact.
Fairy tales suit little children because their knowledge is so limited, that "the fairies must have done it" is regarded as a satisfactory answer to early problems, just as it satisfied childlike Man. Things that to us are wonderful, children accept as commonplace, while others commonplace to us are marvels to the child. But fairy tales do not continue to satisfy all needs. As knowledge grows the child begins to distinguish between what may and what may not happen, though there will always be individual differences, and the more poetic souls are apt to suffer when the outrush of their imagination is checked by a barbed wire of fact. The question "Is it true?" and the desire for true stories arise in the average child of seven to eight years, and at that age history stories are enjoyed. Real history is of course impossible to young children, whose idea of time is still very vague, and whose understanding of the motives and actions of those immediately around them is but embryonic. They still crave for adventure and romance, and they thrill to deeds of bravery. Bravery in the fight appeals to all boys and to most girls, and it is a question for serious consideration how this admiration is to be guided, it certainly cannot be ignored. It is legitimate to admire knights who ride about "redressing human wrongs," fighting dragons and rescuing fair ladies from wicked giants, and at this stage there is no need to draw a hard and fast line between history and legendary literature. It is good to introduce children, especially boys, to some of the Arthurian legends if only to impress the ideal, "Live pure, speak true, right wrong, else wherefore born?"
Stories should always help children to understand human beings, men and women with desires and feelings like our own. But in history and geography stories we deal particularly with people who are different from ourselves, and we should help children to understand, and to sympathise with those whose surroundings and customs are not ours. They may have lived centuries ago, or they may be living now but afar off, they may be far from us in time or s.p.a.ce, but our stories should show the reasons for their customs and actions, and should tend to lessen the natural tendency to feel superior to those who have fewer advantages, and gradually to subst.i.tute for that a sense of responsibility.
But the narration of stories is not the only way in which we can treat history. Our present Minister of Education says that history teaching ought to give "discipline in practical reasoning" and "help in forming judgements," not merely in remembering facts. Indeed he went so far as to say "eliminate dates and facts" by which, of course, he only meant that the power of reasoning, the power of forming judgements is of far more consequence than the mere possession of any quant.i.ty of facts and dates. Training in reasoning, however, must involve training in verification of facts before p.r.o.nouncing judgement.
Training in practical reasoning takes a prominent place in that form of history teaching introduced by Professor Dewey. According to him, history is worth nothing unless it is "an indirect sociology," an account of how human beings have learned, so far as the world has yet learned the lesson, to co-operate with one another, a study of the growth of society and what helps and hinders. So he finds his beginnings in primitive life, and although there is much in this that will appeal to any age, there is no doubt that children of seven to ten or eleven revel in this material.
If used at all it should be used as thinking material--here is man without tools, without knowledge, everything must be thought out. It does not do much good to hand over the material as a story, as some teachers use the Dopp series of books. These books do all the children"s thinking for them. Every set of children must work things out for themselves, using their own environments and their own advantages. The teacher must read to be ready with help if the children fail, and also to be ready with the actual problems. It is astonishing how keen the children are, and how often they suggest just what has really happened.
Where there is s.p.a.ce out-of-doors and the children can find branches for huts, clay for pots, etc., the work is much easier for the teacher and more satisfactory. But even where that is impossible and where one has sometimes to be content with miniature reproductions, the interest is most keen. Children under eight cannot really produce fire from flints or rubbing sticks, nor can they make useable woollen threads with which to do much weaving. But even they can get sparks from flint, make a little thread from wool, invent looms and weave enough to get the ideas.
The romance of "long ago" ought to be taken advantage of to deepen respect for the dignity of labour. Our lives are so very short that we are apt to get out of perspective in the ages. Reading and writing are so new--it is only about four hundred years since the first book was printed in England, the Roman occupation lasted as long, and who thinks of that as a long period? Perhaps it is because we are in the reading and writing age that our boys and girls must become "braw, braw clerks,"
instead of living on and by the land. History, particularly primitive history, should help us all to be "grateful to those unknown pioneers of the human race to whose struggles and suffering, discoveries and energies our present favoured mode of existence on the planet is due.
The more people realise the effort that has preceded them and made them possible, the more are they likely to endeavour to be worthy of it: the more pitiful also will they feel when they see individuals failing in the struggle upward and falling back toward a brute condition; and the more hopeful they will ultimately become for the brilliant future of a race which from such lowly and unpromising beginnings has produced the material vehicle necessary for those great men who flourished in the recent period which we speak of as antiquity."[29]
[Footnote 29: _The Substance of Faith_, p. 18.]
Professor Dewey urges that "the industrial history of man is not a materialistic or merely utilitarian affair," but a matter of intelligence, a record of how men learned to think, and also an ethical record, "the account of the conditions which men have patiently wrought out to serve their ends."