Читать книгу The Child under Eight - Henrietta Brown Smith - Страница 9

Play, which is the business of their lives.

There may be nothing new under the sun, but it does seem to be a fair claim to make for Froebel that no one before or since his time has more fully realised the value to humanity of what in childhood goes by the name of play. Froebel had distinct theories about play, and he put his theories into actual practice, not only when he founded the Kindergarten, but in his original school for older children at Keilhau.

Before going into its full meaning, it may be well first to meet the most common misconception about play. It is not surprising that those who have given the subject no special consideration should regard play from the ordinary adult standpoint, and think of it as entirely opposed to work, as relaxation of effort. But the play of a child covers so much that it is startling to find a real psychologist writing that "education through play" is "a pernicious proposition."[10] Statements of this kind spring from the mistaken idea, certainly not derived from observation, that play involves no effort, that it runs in the line of least resistance, and that education through play means therefore education without effort, without training in self-control, education without moral training. The case for the Kindergarten is the opposite of this. Education through play is advocated just because of the effort it calls forth, just because of the way in which the child, and later the boy or girl, throws his whole energy into it. What Froebel admired, what he called "the most beautiful expression of childlife," was "the child that plays thoroughly, with spontaneous determination, perseveringly, until physical fatigue forbids—a child wholly absorbed in his play—a child that has fallen asleep while so absorbed." That child, he said, would be "a thorough determined man, capable of self-sacrifice for the promotion of the welfare of himself and others." It is because "play is not trivial, but highly serious and of deep significance," that he appeals to mothers to cultivate and foster it, and to fathers to protect and guard it.

[Footnote 10: The Educative Process, p. 255 (Bagley).]

The Kindergarten position can be summed up in a sentence from Dr. Clouston's Hygiene of Mind: "Play is the real work of children." Froebel calls activity of sense and limb "the first germ," and "play-building and modelling the tender blossoms of the constructive impulse"; and this, he says, is "the moment when man is to be prepared for future industry, diligence and productive activity." He points out, too, the importance of noticing the habits which come from spontaneous self-employment, which may be habits of indolent ease if the child is not allowed to be as active as his nature requires.

There were no theories of play in Froebel's day, but he had certainly read Levana, and in all probability he knew what Schiller had said in his Letters on Aesthetic Education. The play theories are now too well known to require more than a brief recapitulation.

It will generally be allowed that the distinctive feature of play as opposed to work is that of spontaneity. The action itself is of no consequence, one man's play is another man's work. Nor does it seem to matter whence comes the feeling of compulsion in work, whether from pressure of outer necessity, or from an inner necessity like the compelling force of duty. Where there is joy in creation or in discovery the work and play of the genius approach the standpoint of the child,

Indulging every instinct of the soul,

There, where law, life, joy, impulse are one thing.

In the play of early childhood there may be freedom, not only from adult authority, but even from the restrictions of nature or of circumstances since "let's pretend" annihilates time and space and all material considerations.

Among theories of play first comes what is known as the Schiller-Spencer theory, in which play is attributed to the accumulation of surplus energy. When the human being has more energy than he requires in order to supply the bodily needs of himself and his family, then he feels impelled to use it. As the activities of his daily life are the only ones known to him, he fights his battles over again, he simulates the serious business of life, and transfers, for instance, the incidents of the chase into a dance. In this Way he reaches artistic creation, so that "play is the first poetry of the human being."

As an opposite of this we get a Re-creation theory, where play, if not too strenuous, understood as a change of occupation, rests and re-creates.

Another theory is that of recapitulation, which has been emphasised by Stanley Hall, according to which children play hunting and chasing games, or find a fascination in making tents, because they are passing through that stage of development in which their primitive ancestors lived by hunting or dwelt in tents.

Lastly, a most interesting theory is that which is associated with the name of Groos, and which is best expressed in the sentence: "Animals do not play because they are young, but they have their youth because they must play," play being regarded as the preparation for future life activities. The kitten therefore practises chasing a cork, the puppy worries boots and gloves, the kid practises jumping, and so on.

A full account of play will probably embrace all these theories, and though they were not formulated in his day, Froebel overlooked none, though he may have laid special stress on the preparation side. Yet another value of play emphasised by Professor Royce, viz. its enormous importance from the point of view of mental initiative, is strongly urged by Froebel. Professor Royce argues that "in the mere persistence of the playful child one has a factor whose value for mental initiative it is hard to overestimate." Without this "passionately persistent repetition," and without also the constant varying of apparently useless activities, the organism, says Professor Royce, "would remain the prey of the environment."

To Froebel, as we have seen, the human being is the climax of animal evolution and the starting-point of psychical development. The lower animal, he maintained, as all will now agree, is hindered by his definite instincts, but the instincts or instinctive tendencies of the human being are so undefined that there is room for spontaneity, for new forms of conduct.

Professor Royce says that "a general view of the place which beings with minds occupy in the physical world strongly suggests that their organisms may especially have significance as places for the initiation of more or less novel types of activity." And to Froebel the chief significance of play lies in this spontaneity.

"Play is the highest phase of human development at this stage, because it is spontaneous expression of what is within produced by an inner necessity and impulse. Play is the most characteristic, most spiritual manifestation of man at this stage, and, at the same time, is typical of human life as a whole."

These various theories seem to reinforce rather than to contradict each other, and it is more important to avoid running any to an extreme than to differentiate between them. In the case of recapitulation, we must certainly bear in mind Froebel's warning that the child "should be treated as having in himself the present, past and future." So, as Dr. Drummond says: "If we feel constrained to present him with a tent because Abraham lived in one, he no doubt enters into the spirit of the thing and accepts it joyfully. But he also annexes the ball of string and the coffee canister to fit up telephonic communication with the nursery." He may play robbers and hide and seek because he has reached a "hunting and capture" stage, but the physiologist points out that violent exercise is a necessity for his circulation and nutrition, and to practise swift flight to safety is useful even in modern times.[11] Gardening may take us back to an agricultural stage, but digging is most useful as a muscular exercise, and "watering" is scientific experiment and adds to the feeling of power, while the flowers themselves appeal to the aesthetic side of the sense-play, which is not limited to any age, though conspicuous so soon.

[Footnote 11: An up-to-date riddle asks the difference between the quick and the dead, and answers, "The quick are those who get out of the way of a motor-bus and the dead are those who do not."]

Froebel recognised many kinds of play. He realised that much of the play of boyhood is exercise of physical power, and that it must be of a competitive nature because the boy wants to measure his power. Even in 1826 he urges the importance not only of town playgrounds but of play leaders, that the play may be full of life. Among games for boys he noted some still involving sense-play, as hiding games, colour games and shooting at a mark, which need quick hearing and sight, intellectual plays exercising thought and judgement, e.g. draughts and dramatic games. One form of play which seemed to him most important was constructive play, where there is expression of ideas as well as expression of power. This side of play covers a great deal, and will be dealt with later; its importance in Froebel's eyes lies in the fact that through construction, however simple, the child gains knowledge of his own power and learns "to master himself." Froebel wanted particularly to deepen this feeling of power, and says that the little one who has already made some experiments takes pleasure in the use of sand and clay, "impelled by the previously acquired sense of power he seeks to master the material."

In order to gain real knowledge of himself, of his power, a child needs to compare his power with that of others. This is one reason for the child's ready imitation of all he sees done by others. Another reason for this is that only through real experience or action can a child gain the ideas which he will express later, therefore he must reproduce all he sees or hears.

"In the family the child sees parents and others at work, producing, doing something; consequently he, at this stage, would like to represent what he sees. Be cautious, parents. You can at one blow destroy, at least for a long time, the impulse to activity and to formation if you repel their help as childish, useless or even as a hindrance. … Strengthen and develop this instinct; give to your child the highest he now needs, let him add his power to your work, that he may gain the consciousness of his power and also learn to appreciate its limitations."

As the child's sense of power and his self-consciousness deepen he requires possessions of his "very own." Says Froebel: "The feeling of his own power implies and demands also the possession of his own space and his own material belonging exclusively to him. Be his realm, his province, a corner of the house or courtyard, be it the space of a box or of a closet, be it a grotto, a hut or a garden, the boy at this age needs an external point, chosen and prepared by himself, to which he refers all his activity."

As ideas widen the child's purposes enlarge, and he finds the need for that co-operation which binds human beings together. And so by play enjoyed in common, the feeling of community which is present in the little child is raised to recognition of the rights of others; not only is a sense of justice developed, but also forbearance, consideration and sympathy.

"When the room to be filled is extensive, when the realm to be controlled is large, when the whole to be produced is complex, then brotherly union of similar-minded persons is in place." And we are invited to enter an "education room," where boys of seven to ten are using building blocks, sand, sawdust and green moss brought in from the forest. "Each one has finished his work and he examines it and that of others, and in each rises the desire to unite all in one whole," so roads are made from the village of one boy to the castle of another: the boy who has made a cardboard house unites with another who has made miniature ships from nut-shells, the house as a castle crowns the hill, and the ships float in the lake below, while the youngest brings his shepherd and sheep to graze between the mountain and the lake, and all stand and behold with pleasure and satisfaction the result of their hands.

The educative value of such play has been brought forward in modern times in Floor Games by Mr. Wells, Magic Cities by Mrs. Nesbit, and notably in Mr. Caldwell Cook's Play City in The Play Way.

Joining together for a common purpose does not only belong to younger boys. "What busy tumult among those older boys at the brook! They have built canals, sluices, bridges, etc … at each step one trespasses on the limits of another realm. Each one claims his right as lord and maker, while he recognises the claims of others, and like States, they bind themselves by strict treaties."

"Every town should have its own common playground for the boys. Glorious results would come from this for the entire community. For, at this period, games, whenever possible, are in common, and develop the feeling and desire for community, and the laws and requirements of community. The boy tries to see himself in his companions, to weigh and measure himself by them, to know and find himself by their help."

"It is the sense of sure and reliable power, the sense of its increase, both as an individual and as a member of the group, that fills the boy with joy during these games. … Justice, self-control, loyalty, impartiality, who could fail to catch their fragrance and that of still more delicate blossoms, forbearance, consideration, sympathy and encouragement for the weaker. … Thus the games educate the boy for life and awaken and cultivate many social and moral virtues."

In England we have always had respect for boys' games and more and more, especially in America, people are realising the need for play places and play leaders. But all this was written in 1826, when for ten years Froebel had been experimenting with boys of all ages. At Keilhau play of all kinds had an honoured place. We read of excursions for all kinds of purposes, of Indian games out of Fenimore Cooper, and of "Homeric battles." It was "part of Froebel's plan to have us work with spade and pick-axe," and every boy had his own piece of ground where he might do what he pleased. Ebers, being literary, constructed in his plot a bed of heather on which he lay and read or made verses. The boys built their own stage, painted their own scenery, and in winter once a week they acted classic dramas. Besides this, there was a large and complete puppet theatre belonging to the school. Bookbinding and carpentry were taught, and at Christmas "the embryo cabinet-maker made boxes with locks and hinges, finished, veneered and polished."

In England in 1917 we have given to us The Play Way, in which one who has tried it gives the results of his own experiments in education through play. Mr. Caldwell Cook was not satisfied with the condition of affairs when "school above the Kindergarten is a nuisance because there is no play." His dream is that of a Play School Commonwealth, where education, which is the training of youth, shall be filled with the spirit of youth, namely, "freshness, zeal, happiness, enthusiasm."

The next chapter will show that it has taken us exactly a hundred years to reach as far as public recognition of the Nursery School where play is the only possible motive. It is for the coming generation of teachers to act so that the dream of the Play School Commonwealth shall be realised more quickly. It is a significant fact that the lines quoted as heading for the next chapter are written by a modern schoolmaster.