Mr. W.W. Newell, in his admirable book on "Children's Games," traces to their proper source all the familiar plays which in one form or another have been handed down from generation to generation, and are still played wherever and whenever children come together in any numbers. The result of his sympathetic and scholarly investigations1 is most interesting to the student of childhood, and as valuable philologically2 as historically. In speaking of the old rounds and rhymed formulas which have preserved their vitality3 under the effacing4 hand of Time, he says,—
"It will be obvious that many of these well-known game-rhymes were not composed by children. They were formerly5 played, as in many countries they are still played, by young persons of marriageable age, or even by mature men and women…. The truth is, that in past centuries all the world, judged by our present standard, seems to have been a little childish. The maids of honor of Queen Elizabeth's day, if we may credit the poets, were devoted6 to the game of tag, with which even Diana and her nymphs were supposed to amuse themselves….
"We need not, however, go to remote times or lands for illustration which is supplied by New England country towns of a generation ago. Dancing, under that name, was little practiced; the amusement of young people at their gatherings7 was "playing games." These games generally resulted in forfeits9, to be redeemed10 by kissing, in every possible variety of position and method. Many of these games were rounds; but as they were not called dances, and as man-kind pays more attention to words than things, the religious conscience of the community, which objected to dancing, took no alarm…. Such were the pleasures of young men and women from sixteen to twenty-five years of age. Nor were the participants mere11 rustics12; many of them could boast as good blood, as careful breeding, and as much intelligence, as any in the land. Neither was the morality or sensitiveness of the young women of that day in any respect inferior to what it is at present.
"Now that our country towns are become mere outlying suburbs of cities, these remarks may be read with a smile at the rude simplicity13 of old-fashioned American life. But the laugh should be directed, not at our own country, but at the bygone age. It must be remembered that in mediaeval Europe, and in England till the end of the seventeenth century, a kiss was the usual salutation of a lady to a gentleman whom she wished to honor…. The Portuguese14 ladies who came to England with the Infanta in 1662 were not used to the custom; but, as Pepys says, in ten days they had 'learnt to kiss and look freely up and down.' Kissing in games was, therefore, a matter of course, in all ranks….
"In respectable and cultivated French society, at the time of which we speak, the amusements, not merely of young people but of their elders as well, were every whit15 as crude.
"Madame Celnart, a recognized authority on etiquette16, compiled in 1830 a very curious complete manual of society games recommending them as recreation for business men…. 'Their varying movement,' she says, 'their diversity, the gracious and gay ideas which these games inspire, the decorous caresses17 which they permit, all this combines to give real amusement. These caresses can alarm neither modesty18 nor prudence19, since a kiss in honor given and taken before numerous witnesses is often an act of propriety20.'"
The old ballads21 and nursery rhymes doubtless had much of innocence22 and freshness in them, but they only come to us nowadays tainted23 by the odors of city streets. The pleasure and poetry of the original essence are gone, and vulgarity reigns24 triumphant25. If you listen to the words of the games which children play in school yards, on sidewalks, and in the streets on pleasant evenings, you will find that most of them, to say the least, border closely on vulgarity; that they are utterly26 unsuitable to childhood, notwithstanding that they are played with great glee; that they are, in fine, common, rude, silly, and boorish27. One can never watch a circle of children going through the vulgar inanities28 of "Jenny O'Jones," "Say, daughter, will you get up?" "Green Gravel," or "Here come two ducks a-roving," without unspeakable shrinking and moral disgust. These plays are dying out; let them die, for there is a hint of happier things abroad in the air.
The wisest mind of wise antiquity29 told the riddle30 of the Sphinx, if having ears to hear we would hear. "Our youth should be educated in a stricter rule from the first, for if education becomes lawless and the youths themselves become lawless, they can never grow up into well-conducted or meritorious31 citizens; and the education must begin with their plays."
We talk a great deal about the strength of early impressions. I wonder if we mean all we say; we do not live up to it, at all events. "In childish play deep meaning lies." "The hand that rocks the cradle is the hand that rules the world." "Give me the first six years of a child's life, and I care not who has the rest." "The child of six years has learned already far more than a student learns in his entire university course." "The first six years are as full of advancement32 as the six days of creation," and so on. If we did believe these things fully33, we should begin education with conscious intelligence at the cradle, if not earlier. The great German dramatic critic, Schlegel, once sneered34 at the brothers Jacob and William Grimm, for what he styled their "meditation35 on the insignificant36." These two brothers, says a wiser student, an historian of German literature, were animated37 by a "pathetic optimism, and possessed38 that sober imagination which delights in small things and narrow interests, lingering over them with strong affection." They explored villages and hamlets for obscure legends and folk tales, for nursery songs, even; and bringing to bear on such things at once a human affection and a wise scholarship, their meditation on the insignificant became the basis of their scientific greatness and the source of their popularity. Every child has read some of Grimm's household tales, "The Frog Prince," "Hans in Luck," or the "Two Brothers;" but comparatively few people realize, perhaps, that this collection of stories is the foundation of the modern science of folk-lore, and a by-play in researches of philology39 and history which place the name of Grimm among the benefactors40 of our race. I refer to these brothers because they expressed one of the leading theories of the new education.
"My principle," said Jacob Grimm, "has been to undervalue nothing, but to utilize41 the small for the illustration of the great." When Friedrich Froebel, the founder42 of the kindergarten, in the course of his researches began to watch the plays of children and to study their unconscious actions, his "meditation on the insignificant" became the basis of scientific greatness, and of an influence still in its infancy43, but destined44, perhaps, to revolutionize the whole educational method of society.
It was while he was looking on with delight at the plays of little children, their happy, busy plans and make-believes, their intense interest in outward nature, and in putting things together or taking them apart, that Froebel said to himself: "What if we could give the child that which is called education through his voluntary activities, and have him always as eager as he is at play?"
How well I remember, years ago, the first time I ever joined in a kindergarten game. I was beckoned45 to the charming circle, and not only one, but a dozen openings were made for me, and immediately, though I was a stranger, a little hand on either side was put into mine, with such friendly, trusting pressure that I felt quite at home. Then we began to sing of the spring-time, and I found myself a green tree waving its branches in the wind. I was frightened and self-conscious, but I did it, and nobody seemed to notice me; then I was a flower opening its petals46 in the sunshine, and presently, a swallow gathering8 straws for nest-building; then, carried away by the spirit of the kindergartner and her children, I fluttered my clumsy apologies for wings, and forgetting self, flew about with all the others, as happy as a bird. Soon I found that I, the stranger, had been chosen for the "mother swallow." It was to me, the girl of eighteen, like mounting a throne and being crowned. Four cunning curly heads cuddled under my wings for protection and slumber47, and I saw that I was expected to stoop and brood them, which I did, with a feeling of tenderness and responsibility that I had never experienced in my life before. Then, when I followed my baby swallows back to their seats, I saw that the play had broken down every barrier between us, and that they clustered about me as confidingly48 as if we were old friends. I think I never before felt my own limitations so keenly, or desired so strongly to be fully worthy49 of a child's trust and love.
Kindergarten play takes the children where they love to be, into the world of "make-believe." In this lovely world the children are blacksmiths, carpenters, wheelwrights; birds, bees, butterflies; trees, flowers, sunbeams, rainbows; frogs, lambs, ponies,—anything they like. The play is so characteristic, so poetic50, so profoundly touching51 in its simplicity and purity, so full of meaning, that it would inspire us with admiration52 and respect were it the only salient point of Froebel's educational idea. It endeavors to express the same idea in poetic words, harmonious53 melody and fitting motion, appealing thus to the thought, feeling, and activity of the child.
Physical impressions are at the beginning of life the only possible medium for awakening54 the child's sensibility. These impressions should therefore be regulated as systematically55 as possible, and not left to chance.
Froebel supplies the means for bringing about the result in a simple system of symbolic56 songs and games, appealing to the child's activities and sensibilities. These he argues, ought to contain the germ of all later instruction and thought; for physical and sensuous57 perceptions are the points of departure of all knowledge.
When the child imitates, he begins to understand. Let him imitate the airy flight of the bird, and he enters partially58 into bird life. Let the little girl personate the hen with her feathery brood of chickens, and her own maternal59 instinct is quickened, as she guards and guides the wayward motion of the little flock. Let the child play the carpenter, the wheelwright, the wood-sawyer, the farmer, and his intelligence is immediately awakened60; he will see the force, the meaning, the power, and the need of labor61. In short, let him mirror in his play all the different aspects of universal life, and his thought will begin to grasp their significance.
Thus kindergarten play may be defined as a "systematized sequence of experiences through which the child grows into self-knowledge, clear observation, and conscious perception of the whole circle of relationships," and the symbols of his play become at length the truth itself, bound fast and deep in heart knowledge, which is deeper and rarer than head knowledge, after all.
To the class occupied exclusively with material things, this phase of Froebel's idea may perhaps seem mystical. There is nothing mystical to children, however; all is real, for their visions have not been dispelled62.
"Turn wheresoe'er I may,
By night or day,
The things which I have seen, I now can see no more."
As soon as the child begins to be conscious of his own activities and his power of regulating them, he desires to imitate the actions of his future life.
Nothing so delights the little girl as to play at housekeeping in her tiny mansion63, sacred to the use of dolls. See her whimsical attention to dust and dirt, her tremendous wisdom in dispensing64 the work and ordering the duties of the household, her careful attention to the morals and manners of her rag-babies.
The boy, too, tries to share in the life of a man, to play at his father's work, to be a miniature carpenter, salesman, or what not. He rides his father's cane65 and calls it a horse, in the same way that the little girl wraps a shawl about a towel, and showers upon it the tenderest tokens of maternal affection. All these examples go to show that every conscious intellectual phase of the mind has a previous phase in which it was unconscious or merely symbolic.
To get at the spirit and inspiration of symbolic representation in song and game, it is necessary first of all to study Froebel's "Mutter und Kose-Lieder," perhaps the most strikingly original, instructive, serviceable book in the whole history of the practice of education. The significant remark quoted in Froebel's "Reminiscences" is this: "He who understands what I mean by these songs knows my inmost secret." You will find people who say the music in the book is poor, which is largely true, and that the versification is weak, which is often, not always, true, and is sometimes to be attributed to faulty translation; but the idea, the spirit, the continuity of the plan, are matchless, and critics who call it trifling66 or silly are those who have not the seeing eye nor the understanding heart. Froebel's wife said of it,—
"A superficial mind does not grasp it,
A gentle mind does not hate it,
A coarse mind makes fun of it,
A thoughtful mind alone tries to get at it."
"Froebel[1] considers it his duty to picture the home as it ought to be, not by writing a book of theories and of rules which are easily forgotten, but by accompanying a mother in her daily rounds through house, garden, and field, and by following her to workshop, market, and church. He does not represent a woman of fashion, but prefers one of humbler station, whom he clothes in the old German housewife style. It may be a small sphere she occupies, but there she is the centre, and she completely fills her place. She rejoices in the dignity of her position as educator of a human being whom she has to bring into harmony with God, nature, and man. She thinks nothing too trifling that concerns her child. She watches, clothes, feeds, and trains it in good habits, and when her darling is asleep, her prayers finish the day. She may not have read much about education, but her sympathy with the child suggests means of doing her duty. Love has made her inventive; she discovers means of amusement, for play; she talks and sings, sometimes in poetry and sometimes in prose. From mothers in his circle of relations and friends, Froebel has learned what a mother can do, and although he had no children of his own, his heart vibrated instinctively67 with the feelings of a mother's joy, hope, and fear. He did not care about the scorn of others, when he felt he must speak with an almost womanly heart to a mother. His own loss of a mother's tender care made him the more appreciate the importance of a mother's love in early infancy. The mother in his book makes use of all the impressions, influences, and agencies with which the child comes in contact: she protects from evil; she stimulates68 for good; she places the child in direct communication with nature, because she herself admires its beauties. She has a right feeling towards her neighbors, and to all those on whom she depends. A movement of arms and feet teaches her that the child feels its strength and wants to use it. She helps, she lifts, she teaches; and while playing with her baby's hands and feet she is never at a loss for a song or story.
[Footnote 1: Eleonore Heerwart.]
"The mother also knows that it is necessary to train the senses, because they are the active organs which convey food to the intellect. The ear must hear language, music, the gentle accents and warning voices of father and mother. It must distinguish the sounds of the wind, of the water, and of pet animals.
"The eyesight is directed to objects far and near, as the pigeons flying, the hare running, the light flickering69 on the wall, the calm beauty of the moon, and the twinkling stars in the dark blue sky."
Of the effect of Froebel's symbolic songs and games, with melodious70 music and appropriate gesture, kindergartners all speak enthusiastically. They know that—
First: The words suggest thought to the child.
Second: The thought suggests gesture.
Third: The gesture aids in producing the proper feeling.
We all believe thoroughly71 in the influence of mind on body, the inward working outward, but we are not as ready to see the influence of body on mind. Yet if mind or soul acts upon the body, the external gesture and attitude just as truly react upon the inward feeling. "The soul speaks through the body, and the body in return gives command to the soul." All attitudes mean something, and they all influence the state of mind.
Fifth: The gestures, feeling, and melody unite in giving a sweet and gentle intercourse73, in developing love for labor, home, country, associates, and dumb animals, and in unconsciously directing the intellectual powers.
Learning to sing well is the best possible means of learning to speak well, and the exquisite74 precision which music gives to kindergarten play destroys all rudeness, and does not in the least rob it of its fun or merriment.
"We cannot tell how early the pleasing sense of musical cadence75 affects a child. In some children it is blended with the earliest, haziest76 recollection of life at all, as though they had been literally77 'cradled in sweet song;' and we may be sure that the hearing of musical sounds and singing in association with others are for the child, as for the adult, powerful influences in awakening sympathetic emotion, and pleasure in associated action."
Who can see the kindergarten games, led by a teacher who has grown into their spirit, and ever forget the joy of the spectacle? It brings tears to the eyes of any woman who has ever been called mother, or ever hopes to be; and I have seen more than one man retire surreptitiously to wipe away his tears. Is it "that touch of nature which makes the whole world kin"? Is it the perfect self-forgetfulness of the children? Is it a touch of self-pity that the radiant visions of our childhood days have been dispelled, and the years have brought the "inevitable78 yoke"? Or is it the touching sight of so much happiness contrasted with what we know the home life to be?
Sydney Smith says: "If you make children happy now, you will make them happy twenty years hence by the memory of it;" and we know that virtue79 kindles80 at the touch of this joy. "Selfishness, rudeness, and similar weedy growths of school-life or of street-independence cannot grow in such an atmosphere. For joy is as foreign to tumult81 and destruction, to harshness and selfish disregard of others, as the serene82, vernal sky with its refreshing83 breezes is foreign to the uproar84 and terrors of the hurricane."
For this kind of ideal play we are indebted to Friedrich Froebel, and if he had left no other legacy85 to childhood, we should exalt86 him for it.
If you are skeptical87, let me beseech88 you to join the children in a Free Kindergarten, and play with them. You will be convinced, not through your head, perhaps, but through your heart. I remember converting such a grim female once! You know Henry James says, "Some women are unmarried by choice, and others by chance, but Olive Chancellor89 was unmarried by every implication of her being." Now, this predestinate spinster acquaintance of mine, well nigh spoiled by years of school-teaching in the wrong spirit, was determined90 to think kindergarten play simply a piece of nauseating91 frivolity92. She tried her best, but, kept in the circle with the children five successive days, she relaxed so completely that it was with the utmost difficulty that she kept herself from being a butterfly or a bird. It is always so; no one can resist the unconscious happiness of children.
As for the good that comes to grown people from playing with children in this joyous93 freedom and with this deep earnestness of purpose, it is beyond all imagination. If I had a daughter who was frivolous94, or worldly, or selfish, or cold, or unthoughtful,—who regarded life as a pleasantry, or fell into the still more stupid mistake of thinking it not worth living,—I should not (at first) make her read the Bible, or teach in the Sunday-school, or call on the minister, or request the prayers of the congregation, but I should put her in a good Kindergarten Training School. No normal young woman can resist the influence of the study of childhood and the daily life among little children, especially the children of the poor: it is irresistible95.
Oh, these tiny teachers! If we only learned from them all we might, instead of feeling ourselves over-wise! I never look down into the still, clear pool of a child's innocent, questioning eyes without thinking: "Dear little one, it must be 'give and take' between thee and me. I have gained something here in all these years, but thou hast come from thence more lately than have I; thou hast a treasure that the years have stolen from me—share it with me!"
Let us endeavor, then, to make the child's life objective to him. Let us unlock to him the significance of family, social, and national relationships, so that he may grow into sympathy with them. He loves the symbol which interprets his nature to himself, and in his eager play, he pictures the life he longs to understand.
If we could make such education continuous, if we could surround the child in his earlier years with such an atmosphere of goodness, beauty, and wisdom, none can doubt that he would unconsciously grow into harmony and union with the All-Good, the All-Beautiful, and the All-Wise.
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investigations
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| （正式的）调查( investigation的名词复数 )； 侦查； 科学研究； 学术研究 | |
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philologically
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| adv.语言学上 | |
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vitality
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| n.活力，生命力，效力 | |
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effacing
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| 谦逊的 | |
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formerly
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| adv.从前，以前 | |
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devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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gatherings
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| 聚集( gathering的名词复数 )； 收集； 采集； 搜集 | |
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gathering
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| n.集会，聚会，聚集 | |
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forfeits
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| 罚物游戏 | |
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redeemed
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| adj. 可赎回的，可救赎的 动词redeem的过去式和过去分词形式 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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rustics
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| n.有农村或村民特色的( rustic的名词复数 )；粗野的；不雅的；用粗糙的木材或树枝制作的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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Portuguese
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| n.葡萄牙人；葡萄牙语 | |
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whit
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| n.一点，丝毫 | |
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etiquette
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| n.礼仪，礼节；规矩 | |
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caresses
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| 爱抚，抚摸( caress的名词复数 ) | |
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modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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prudence
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| n.谨慎，精明，节俭 | |
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propriety
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| n.正当行为；正当；适当 | |
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ballads
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| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
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innocence
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| n.无罪；天真；无害 | |
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tainted
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| adj.腐坏的；污染的；沾污的；感染的v.使变质( taint的过去式和过去分词 )；使污染；败坏；被污染，腐坏，败坏 | |
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reigns
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| n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期 | |
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triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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utterly
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| adv.完全地，绝对地 | |
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boorish
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| adj.粗野的，乡巴佬的 | |
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inanities
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| n.空洞( inanity的名词复数 )；浅薄；愚蠢；空洞的言行 | |
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antiquity
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| n.古老；高龄；古物，古迹 | |
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riddle
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| n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜 | |
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meritorious
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| adj.值得赞赏的 | |
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advancement
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| n.前进，促进，提升 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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sneered
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| 讥笑，冷笑( sneer的过去式和过去分词 ) | |
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meditation
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| n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录 | |
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insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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philology
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| n.语言学；语文学 | |
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benefactors
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| n.捐助者，施主( benefactor的名词复数 )；恩人 | |
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utilize
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| vt.使用，利用 | |
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Founder
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| n.创始者，缔造者 | |
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infancy
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| n.婴儿期；幼年期；初期 | |
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destined
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| adj.命中注定的；(for)以…为目的地的 | |
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beckoned
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| v.（用头或手的动作）示意，召唤( beckon的过去式和过去分词 ) | |
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petals
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| n.花瓣( petal的名词复数 ) | |
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slumber
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| n.睡眠，沉睡状态 | |
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confidingly
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| adv.信任地 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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touching
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| adj.动人的，使人感伤的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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awakening
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| n.觉醒，醒悟 adj.觉醒中的；唤醒的 | |
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systematically
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| adv.有系统地 | |
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symbolic
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| adj.象征性的，符号的，象征主义的 | |
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sensuous
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| adj.激发美感的；感官的，感觉上的 | |
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partially
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| adv.部分地，从某些方面讲 | |
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maternal
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| adj.母亲的，母亲般的，母系的，母方的 | |
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awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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dispelled
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| v.驱散，赶跑( dispel的过去式和过去分词 ) | |
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mansion
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| n.大厦，大楼；宅第 | |
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dispensing
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| v.分配( dispense的现在分词 )；施与；配（药） | |
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cane
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| n.手杖，细长的茎，藤条；v.以杖击，以藤编制的 | |
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trifling
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| adj.微不足道的；没什么价值的 | |
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instinctively
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| adv.本能地 | |
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stimulates
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| v.刺激( stimulate的第三人称单数 )；激励；使兴奋；起兴奋作用，起刺激作用，起促进作用 | |
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flickering
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| adj.闪烁的，摇曳的，一闪一闪的 | |
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melodious
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| adj.旋律美妙的，调子优美的，音乐性的 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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begets
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| v.为…之生父( beget的第三人称单数 )；产生，引起 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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cadence
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| n.（说话声调的）抑扬顿挫 | |
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haziest
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| 有薄雾的( hazy的最高级 )； 模糊的； 不清楚的； 糊涂的 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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kindles
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| （使某物）燃烧，着火( kindle的第三人称单数 )； 激起（感情等）； 发亮，放光 | |
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tumult
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| n.喧哗；激动，混乱；吵闹 | |
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serene
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| adj. 安详的，宁静的，平静的 | |
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refreshing
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| adj.使精神振作的，使人清爽的，使人喜欢的 | |
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uproar
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| n.骚动，喧嚣，鼎沸 | |
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legacy
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| n.遗产，遗赠；先人(或过去)留下的东西 | |
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exalt
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| v.赞扬，歌颂，晋升，提升 | |
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skeptical
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| adj.怀疑的，多疑的 | |
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beseech
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| v.祈求，恳求 | |
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chancellor
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| n.(英)大臣；法官；(德、奥)总理；大学校长 | |
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determined
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| adj.坚定的；有决心的 | |
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nauseating
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| adj.令人恶心的，使人厌恶的v.使恶心，作呕( nauseate的现在分词 ) | |
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frivolity
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| n.轻松的乐事，兴高采烈；轻浮的举止 | |
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joyous
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| adj.充满快乐的；令人高兴的 | |
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frivolous
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| adj.轻薄的；轻率的 | |
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irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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