In addition to the flowers chosen for beauty of colour, this lover of children and of gardens wants Canterbury Bells to ring, Forget-me-nots because they can stand so much watering, and "flowers with faces," pansies, sweet-peas, lupins, snapdragons, monkey flowers, red and white dead nettles, and red clover to bring the bees. Some of these are chosen because the child can do something with them, can find their own uses for them, can play with them. And, speaking generally, playing with them is the child's way of appreciating both plant and animal. Picking feathery grasses, red-tipped daisies, sweet-smelling clover and golden dandelions; feeding snapdragons with fallen petals, finding what's o'clock by blowing dandelion fruits, paying for dock tea out of a fairy purse, shading poppy dolls with woodruff parasols, that is how a child enjoys the beauty of colour, scent and form. He gets not more but less beauty when he must sit in a class and answer formal questions. "Must we talk about them before we take the flowers home?" asked a child one day; "they are so pretty." Clearly, the "talk" was going to lessen, not to deepen the beauty. And animals? The child plays with cat and dog, he feeds the chickens, the horse and the donkey, he watches with the utmost interest caterpillar, snail and spider, but he does not want to be asked questions about them—he does want to talk and perhaps to ask the questions himself—nor does he always want even to draw, paint or model them. Mostly he wants to watch, and perhaps just to stir them up a little if they do not perform to his satisfaction. He does not necessarily mean to tease, only why should he watch an animal that does nothing? "The animals haven't any habits when I watch them," a little girl once said to Professor Arthur Thomson.
All children should live in the country at least for part of the year. They should know fields and gardens, and have intercourse with hens and chickens, cows and calves, sheep and lambs; should make hay and see the corn cut. They would still want the wisely sympathetic teacher, not to arouse interest—that is not necessary, but to keep it alive by keeping pace with the child's natural development. It is not merely living in the country that develops the little child's interest in shape and colour and scent into something deeper. People still "spend all their time in the fields and forests and see and feel nothing of the beauties of Nature, and of their influence on the human heart"; and this, said Froebel—and it is just what Mr. Clutton Brock is saying now—is because the child "fails to find the same feelings among adults." Two effects follow: the child feels the want of sympathy and loses some respect for the elder, and also he loses his original joy in Nature.
"There is in every human being the passionate desire for this self-forgetfulness—to which it attains when it is aware of beauty—and a passionate delight in it when it comes. The child feels that delight among spring flowers; we can all remember how we felt it in the first apprehension of some new beauty of the universe, when we ceased to be little animals and became aware that there was this beauty outside us to be loved. And most of us must remember, too, the strange indifference of our elders. They were not considering the lilies of the field; they did not want us to get our feet wet among them. We might be forgetting ourselves, but they were remembering us; and we became suddenly aware of the bitterness of life and the tyranny of facts. Now parents and nurses (and teachers) have, of course, to remember children when they forget themselves. But they ought to be aware that the child, when he forgets himself in the beauty of the world, is passing through a sacred experience which will enrich and glorify the whole of his life. Children, because they are not engaged in the struggle for life, are more capable of this aesthetic self-forgetfulness than they will afterwards be; and they need all of it that they can get, so that they may remember it and prize it in later years. In these heaven-sent moments they know what disinterestedness is. They have a test by which they can value all future experience and know the dullness and staleness of worldly success. Therefore it is a sin to check, more than need be, their aesthetic delight" (The Ultimate Belief).
We cannot all give to our children the experiences we should like to supply, but if we are clear that we are aiming at enjoyment of Nature, and not at supplying information, we shall come nearer to what is desirable. For years, almost since it opened in 1908, Miss Reed of the Michaelis Free Kindergarten has taken her children to the country. It means a great deal of work and responsibility, it means collecting funds and giving up one's scanty leisure, it means devoted service, but it has been done, and it has been kept up even during war time, though with great difficulty as to funds, because of the inestimable benefit to the children. Miss Stokes of the Somers Town Nursery School secured a country holiday for her little ones in various ways, partly through the Children's Country Holiday Fund, but since the war she has been unable to secure help of that kind, and has managed to take the children away to a country cottage. A paragraph in the report says: "The children in the country had a delightful time, and what was seen and done during their holiday is still talked about continually. These joys entered into all the work of the nursery school and helped the children for months to retain a breath of the country in their London surroundings. They realised much from that visit. Cows now have horns, wasps have wings and fly—alas they sting also. Hens sit on eggs, an almost unbelievable thing. Fishes, newts, tadpoles, were all met with and greeted as friends. Children and helpers alike returned home full of health and vigour and longing for the next time. One little maid wept bitterly, and there seemed no joy in life at home until she came across the school rabbit, which was tenderly caressed, and consoled her with memories of the country and hopes for future visits."
In the days when teachers argued about the differences between
Object-lessons and Nature-lessons, one point insisted upon was that the
Nature-lesson far surpassed the Object-lesson because it dealt with
life.
We have learned now that we should as much as we can surround our children with life and growth. Even indoors it is easy to give the joy of growing seeds and bulbs and of opening chestnut branches: without any cruelty we can let them enjoy watching snails and worms and we can keep caterpillars or silkworms and so let them drink their fill of the miracle of development. But beauty comes to children in very different ways, and always it is Nature, though it may not be life.
Children revel in colour, colour for its own sake, and should be allowed to create it. In a modern novel there is a description of a mother doing her washing in the open air and "at her feet sat a baby intent upon the assimilation of a gingerbread elephant, but now and then tugging at her skirts and holding up a fat hand. Each time he was rewarded by a dab of soapsuds, which she deposited good-naturedly in his palm. He received it with solemn delight; watching the roseate play of colour as the bubbles shrank and broke, and the lovely iridescent treasure vanished in a smear of dirty wetness while he looked. Then he would beat his fists delightedly against his mother's dress and presently demand another handful."
The following notes from another student's report show how this may spring naturally out of the children's life:[23]
[Footnote 23: Miss Edith Jones.]
"We were spinning the teetotum yesterday and it did not spin well so we made new ones. While the children were painting their tops, Oliver grew very eager when he found he could fill in all the spaces in different colours, but Betty made her colours very insipid. I want them to get the feeling of beautiful colour, so I shall show them a book with the colours graded in it, and we shall each have a paper and paint on it all the rich colours we can think of. The colours will probably run into each other, and so the children will get ideas about the blending of colours, but I will watch to see that they do not get the colour too wet. If they are not tired of painting I want to show them a painted circle to turn on a string and they can make these for themselves, using the colours they have already used.