Chapter 5

In the divided cube, however, he can gratify his desires, and at the same time possess the joy of doing right and destroying nothing, for the eight little blocks can be quickly united into their original form, and also into many other pleasing little forms, each one complete in itself, so that every analysis ends as it should, in synthesis.

Froebel calls this gift specifically "the children's delight," and indeed it is, responding so generously to their spontaneous activity, while at the same time it suits their small capabilities, for the possibilities of an object used for form study should not be too varied. "It must be suggestive through its limitations," says Miss Blow, "for the young mind may be as easily crushed by excess as by defect."[36]

[36] "An element which slumbers like a viper under roses is that which is now so frequently provided as a plaything for children; it is, in a word, the already too complex and ornate, too finished toy. The child can begin no new thing with it, cannot produce enough variety by means of it; his power of creative imagination, his power of giving outward form to his own idea, are thus actually deadened."--Froebel's _Pedagogics_.

Froebel was left motherless at a very early age, and during his first four years of life his father was entirely engrossed with parish duties, and the child had only occasional supervision from a hard-worked servant. Thus it happened that he was frequently alone long hours at a time in a dusky room overshadowed by the neighboring church, and naturally strayed often to the window, from whence he might look down upon the busy world outside. He recalls that he was greatly interested at one time in some workmen who were repairing the church, and that he constantly turned from his post of observation to try and imitate their labors, but his only building material was the furniture of the room, and chairs and tables clumsily resisted his efforts to pile them up into suitable form. He tells us that this strong desire for building and the bitter disappointment of his repeated failures were still keenly remembered when he was a grown man, and thus suggested to him that children ought to be provided with materials for building among their playthings. He often noticed also, in later years, that all children seem to have the building instinct, corresponding to what Dr. Seguin calls "the building mania in the infancy of peoples," and that "to make a house is the universal form of unguided play."[37]

[37] "One of the greatest and most universal delights of children is to construct for themselves a habitation of some sort, either in the garden or indoors, where chairs have generally to serve their purpose. Instinct leads them, as it does all animals, to procure shelter and protection for their persons, individual outward self-existence and independence."--Bertha von Marenholtz-Bülow, _Child and Child Nature_.

We now understand the meaning of the gift, the reason for its importance in Froebel's plan, and its capabilities as a vehicle for delightful instruction.

Classes of Forms.

There are three different classes of forms for dictation and invention, variously named by kindergartners.

1. Life forms, or upright forms, which are seen in the child's daily life, as a pair of boots, a chair, table, bed, or sofa. Froebel calls them also object forms, or forms of things.

("The child demands that the object constructed stand in connection with himself, his life, or somebody or something in his life."--Froebel.)

2. Mathematical forms, or various combinations of the blocks, upright and supine, for mathematical exercises. They correspond to the forms of knowledge in Logic.

(Also called by Froebel forms of truth, forms of instruction, forms of learning.)

3. Symmetrical forms, or flat designs formed by opposites and their intermediates. These are figures in which four of the blocks generally revolve in order around the other four as a centre.

(Also called by Froebel picture forms, flower forms, star forms, dance forms.)

LIFE FORMS.

Life forms should be given first, as the natural tendency of the young child is to pile things up,[38] and these forms seem simpler for dictation, are more readily grasped by the mind, and more fascinating to the imagination. They are the images of things both dear and familiar to him, and thus are particularly adapted to the beginning since the "starting point of the child's development is the heart and the emotions." It is easier for him to be an architect at first than an artist, though each will be comprehended in the other after a time.[39]

[38] "The building or piling up is with the child, as with the development of the human race, and as with the fixed forms in Nature, the first."--Froebel's _Education of Man_.

"Towers, pyramids, up, up, connecting themselves with something high, voicing aspiration."

[39] "The representation of facts and circumstances of history, of geography, and especially of every-day life, by means of building, I hold to be in the highest degree important for children, even if these representations are imperfect and fall far short of their originals. The eye is at all events aroused and stimulated to observe with greater precision than before the object that has been represented.... And thus, by means of perhaps a quite imperfect outward representation, the inner perception is made more perfect."--Froebel's _Letters_, tr. by Michaelis and Moore, page 99.

The dictations should be given very simply, clearly, and slowly, always using one set of terms to express a certain meaning, and having those absolutely correct. We should never give dictations from a book, but from memory, having prepared the lesson beforehand, and should remember that every exercise we give should "incite and develop self-activity." We must guard against mistakes or confusion in our own minds; it is very easy to confuse the child, and he will become inattentive and careless if he is unable to catch our meaning.

Brief stories should occasionally be told, just mere outlines to give color and force to the child's building, and connect it with his experience. If it is an armchair, grandmother may sit in it knitting the baby's stocking. If it is a well, describe the digging of it, the lining with stones or brick, the inflowing of the water, the letting down of the bucket and long chain, the clear, cool water coming up from the deep, dark hole in the ground on a hot summer's day. These, of course, are but the merest suggestions which experience may be trusted to develop.

It is better, perhaps, to give a bit of word-painting to each object constructed than to wait till the end of the series for the day and tell a longer story, as the interest is thus more easily sustained. The children, too, should be encouraged to talk about the forms and tell little stories concerning them. The form created should never be destroyed, but transformed into the next in order by a few simple movements.

SYMMETRICAL FORMS.

"These forms, in spite of their regularity, are called forms of beauty. The mathematical forms which Froebel designates forms of knowledge give only the skeleton from which the beautiful form develops itself.

"Symmetry of the parts which make up these simple figures gives the impression of beauty to the childish eye. He must have the elements of the beautiful before he is in a condition to comprehend it in its whole extent.

"Only what is simple gives light to the child at first. He can only operate with a small number of materials, therefore Froebel gives only eight cubes for this object at this time."

Of course these three classes of forms are not to be kept arbitrarily separate, and the children finish and lay aside one set before attempting another. There are many cases where the three may be united, as indeed they are morally speaking in the life of every human being.

When the distinctions are clear in our own minds, our knowledge and tact will guide us to introduce the gift properly, and carry it on in a natural, orderly, and rational manner, not restricting the child's own productive powers.

If the children have had time to imbibe a love of symmetry and beauty, and have been trained to observe and delight in them, then this second class of forms will attract them as much, after a little, as the first, though more difficult of execution.

Each sequence starts from a definite point, the four outside blocks revolving round the central four, and going through or "dancing through," as Froebel says, all the successive figures before returning in the opposite direction.

All the dictations are most valuable intellectually, but should not be long-continued at one time, as they require great concentration of mind, and are consequently wearisome.

Hints from Ronge's "Guide."

Excellent exercises or suggestions for building can be found in Ronge's "Kindergarten Guide." He mentions one pleasant little play which I will quote. "When each in the class has produced a different form, let the children rise and march round the table to observe the variety." Let them sing in the ascending and descending scales:--

Many pretty forms I see, Which one seems the best to me?

At another time let each child try to build the house he lives in, and while this is being done, let them join in singing some song about home. It is well to encourage singing during the building exercises, as we have so many appropriate selections.[40]

[40] See _Kindergarten Chimes_ (Kate D. Wiggin), Oliver Ditson Publishing Co.: "Building Song," pages 34, 35; "Trade Game," page 70; "The Carpenter," page 92.

Group Work.

With the first of the Building Gifts enters a new variety of group work, which was not adapted for the first and second gifts. The children may now be seated at square tables, one at each side, and build in unison in the centre, the form produced being of course four times as large and fine as any one of the number could have produced alone. All the suggestions or directions for building are necessarily carried out together, and the success of the completed form is obviously dependent on the coöperation of all four children. Forms of Beauty are very easily constructed in this manner, as well as forms of Life, having four uniform sides, and when the little ones are somewhat more expert builders, Life forms having opposite sides alike, or even four different sides, may be constructed.

The other various forms of coöperative work are of course never to be neglected, that a social unity may be produced, in which "the might of each individual may be reinforced by the might of the whole."

MATHEMATICAL FORMS.

A better idea of these may be obtained through a manipulation of the blocks and an arrangement of the geometrical forms in their regular order.

The child, if he were taught as Froebel intended, would make his first acquaintance with numbers in the nursery, beginning in a very small way and progressing slowly. The pupils of the kindergarten are a little older, and having already a slight knowledge of numbers (though not of course in their abstract relations) are able to accomplish greater things.

The child can, with our guidance, make all possible combinations of the parts of the number Eight. The principles of Addition, Subtraction, even Multiplication and Fractions, can also be mastered without one tear of misery or pang of torture. He grasps the whole first, then by simple processes, building with his own hands, he finds out and demonstrates for himself halves, fourths, and eighths, sometimes in different positions, but always having the same contents.

Method and Manner of using the Gift.

Even yet we must not suffer this to become work. The exercises should be repeated again and again, but we must learn to break off when the play is still delightful, and study ways to endow the next one with new life and charm, though it carry with it the same old facts. What we want to secure is, not a formidable number of parrot-like statements, but a firm foundation for future clearness of understanding, depth of feeling, and firmness of purpose. So, at the beginning of the exercise, we should not ask John if he remembers what we talked about last time, and expect him to answer clearly at once. Because he does not answer our formal questions which do not properly belong to babyhood, we need not conclude he has learned nothing, for a child can show to our dull eyes only a very tiny glimpse of his wonderful inner world.

Let our aim be, that the child shall little by little receive impressions so clearly that he will recognize them when they appear again, and that he shall, after a time, know these impressions by their names. It is nothing but play after all, but it is in this childish play that deep meaning lies.

A child is far less interested in that which is given him complete than in that which needs something from him to make it perfect. He loves to employ all his energies in conceiving and constructing forms; the less you do for him the better he enjoys it, if he has been trained to independence.[41]

[41] "Probably the chief wish of children is to do things for themselves, instead of to have things done for them. They would gladly live in a Paradise of the Home-made. For example, when we read how the 'prentices of London used to skate on sharp bones of animals, which they bound about their feet, we also wished, at least, to try that plan, rather than to wear skates bought in shops." (Andrew Lang.)

"Complete toys hinder the activity of children, encourage laziness and thoughtlessness, and do them more harm than can be told. The active tendency in them turns to the distortion of what is complete, and so becomes destructive."

"Any fusing together of lessons, work, and play, is possible only when the objects with which the child plays allow room for independent mental and bodily activity, i. e., when they are not themselves complete in the child's hand. Had man found everything in the world fixed and prepared for use; had all means of culture, of satisfaction for the spiritual and material wants of his nature, been ready to his hand, there would have been no development, no civilization of the human race."

Pedantry and dogmatism must be eliminated from all the dictations; the life must not be shut out of the lessons in order that we may hear a pin drop, nor should they be allowed to degenerate into a tedious formalism and mechanical puppet-show, in which we pull the strings and the poor little dummies move with one accord.

Yet most emphatically a certain order and harmony must prevail, the forms must follow each other in natural sequence, the blocks must, invariably, be taken carefully from the box, so as to present a whole at the first glance, and at the close of the lesson should always be neatly put together again into the original form and returned to the box as a whole.[42]

[42] "In order to furnish to the child at once clearly and definitely the _impression of the whole_, of _the self-contained_, the plaything before it is given to the child for his own free use must be opened as follows.... It will thus appear before the observing child as a cube closely united, yet easily separated and again restored."--Froebel's _Pedagogics_, pages 123, 124.

And now one last word of warning about doing too much for the children in these exercises, and even guiding too much, carrying system and method too far in dictation. We must remember that an excess of systematizing crushes instead of developing originality, and that it is all too easy even in the kindergarten to turn children into machines incapable of acting when the guiding hand is removed.

NOTE.

In opening the boxes, it is well to observe some simple form. It is not irksome, but, on the contrary, rather pleasing to the children, who delight in doing things in concert.

BOXES IN CENTRE OF TABLE.

1. Draw the cover out one half space. 2. Fingers of right hand placed on left-hand side of box. 3. Turn entirely over from left to right. 4. Withdraw lid and place on right-hand upper corner of table. 5. Lift box gently and place on top of cover mouth upwards.

READINGS FOR THE STUDENT.

Reminiscences of Froebel. _Von Marenholtz-Bülow_. Page 152. Child and Child Nature. _Von Marenholtz-Bülow_. 145, 146. Education. _E. Seguin_. 95, 96. Lessons in Form. _W. W. Speer_. 23. Pedagogics of the Kindergarten. _Fr. Froebel_. 108-44. Education of Man. _Fr. Froebel_. Tr. by _Josephine Jarvis_. 40, 41. Kindergarten at Home. _E. Shirreff_. 12-14. Kindergarten Culture. _W. N. Hailmann_. 55-66. Paradise of Childhood. _Edward Wiebe_. 11-16. Law of Childhood. _W. N. Hailmann_. 35-38. Kindergarten Guide. _J_. and _B. Ronge_. 5-13. Kindergarten Guide. _Kraus-Boelte_. 27-47. Koehler's Kindergarten Practice. Tr. by _Mary Gurney_. 20-23. Froebel and Education by Self-Activity. H. _Courthope Bowen_. 140-42. Kindergarten Toys. _Heinrich Hoffmann_. 17-26. Conscious Motherhood. _E. Marwedel_. 165, 166. The Kindergarten. _H. Goldammer_. 49-70.

FROEBEL'S FOURTH GIFT

"A new gift is demanded--a gift wherein the length, breadth, and thickness of a solid body shall be distinguished from each other by difference of size. Such a gift will open the child's eyes to the three dimensions of space, and will serve also as a means of recognizing and interpreting the manifold forms and structures with which he is constantly brought in contact."

"The inner difference, intimated in the three perpendicular axes of the cube (and the sphere), now becomes externally visible and abiding in each of its building blocks as a difference of size." FR. FROEBEL.

"The fourth gift incites the child to consider things in their relations to space, and to the forces of nature, and in his play with the bricks he is constantly engaged in efforts to adapt himself to the laws of their nature, while rendering them subservient to his ends." W. N. HAILMANN.

1. The fourth gift consists of a cube measuring two inches in each of its dimensions. It is divided once vertically in its height, and three times horizontally in its thickness, giving eight parallelopipeds or bricks, each two inches long, one inch wide, and one half inch thick.

2. Like the third gift in form, size, material, and use, it is unlike it in division. In the third gift the parts were like each other, and like the whole, in the fourth they are like each other, but unlike the whole.

3. The most important characteristics of the gift are:--

_a._ Approximation to surface in the symmetrical forms.

_b._ Greater height and greater extension, resulting in a greater possible inclosure of space.

_c._ The illustration of two philosophical laws, viz., the law of Equilibrium or Balance, and the law of Transmitted Motion or Propagation of Force.

4. Progress is shown in this gift as follows:--

_a._ In the difficulty of dictation and manipulation arising from the different character of the faces of the bricks, and the many positions which each brick can assume.

_b._ In the necessity of perfect balance.

_c._ In a clearer illustration of dimension. In the third gift the parts were equal in height, breadth, and thickness; in the fourth they are unequal, and therefore each dimension is emphasized.

As to progression, the increase of difficulty suits the increase in the child's power of comprehension and receptivity. He is being developed thus far, not by rapid changes in material or greater exercise in number, but by practice with differing forms, each one bringing with it new knowledge and experience. The organs of perception are being constantly made to grow by exercise with intention. We are forming the scientific eye which can detect differences ever after at a glance.

5. The geometrical forms illustrated in this gift are:--

Solids. { Rectangular Parallelopipeds. { Square Prisms.

Planes. { Oblongs. { Squares.

6. The fourth gift presents contrasts of dimension and, as to the area of its faces, contrasts of size and their mediation.

* * * * *

What the Child has gained from Third Gift.

The use of the third gift opened to the child quite a new world of experiences, each one of which was pleasant and instructive, combining all the delights of mental and physical activity, imagination, practical industry, and coöperation.

He has gained an idea, distinct in proportion to the skill with which it has been placed before him, of the cube as a solid body having surfaces, corners, and edges; of a whole and its equal fractional parts; of the power of combining those parts into new wholes; and of the fact that form and size are two separate and distinct characteristics of objects. He has also gained new dexterity.[43] His ten little fingers that seemed "all thumbs" as they arranged so carefully the clumsy little cubes of the Low Wall can now build the Bunker Hill Monument with unerring skill, and can even, with the grave concentration that it demands, drop the last difficult little block cornerwise into the top of the church window.

[43] "A child trained for one year in a kindergarten would acquire a skillful use of his hands and a habit of accurate measurement of the eye which would be his possession through life." (W. T. Harris.)

The child has counted his cubes from one to eight until he knows them like the children of a family, and can divide them into sets of two and four with equal ease.

These are the deeds. As to the new words the little box of blocks has brought him, their number is legion, comprising many terms of direction and position, names of tools and implements, buildings and places.

Truly if the kindergartner has been wise and faithful, the child has gained wonders from this simple unassuming toy, one which is almost too plain and rude to fix the momentary attention of a modern spoiled child, though even he will grow to appreciate its treasures if rightly guided.

Differences between Third and Fourth Gifts.

And now we approach another cubical box, containing the fourth gift, and, on opening it, see that it presents resemblances between and differences when compared with that just left behind.

We notice at once the new method of division, and in separating it find that the parts, evidently in number the same as before, are entirely novel in form, though the whole was familiar in its aspect. If the child is old enough to understand the process of comparison, he will see that the parts of the two gifts have each six surfaces, eight corners, and twelve edges; but that while edges and corners are alike, the faces differ greatly on the new block, which he will probably call the "brick," as it is a familiar form and name to him. This process of comparison will be greatly facilitated if he models the two cubes in clay, and divides them with string or wire, the one into inch cubes, the other into bricks.

Dr. Seguin's Objections to the Cube as the Primary Figure in the Kindergarten.