The Child Under Eight

by E. R. Murray; Henrietta Brown Smith

In actual practice, however, we act too often as if we only cared for economic values. If we are to live up to our educational profession, we must look our aim in the face and honestly practise what we believe.

While training of character and conduct is the accepted aim for education in general, to make this useful and practical each teacher must fix her attention on how this ultimate aim affects her own special part of the whole work. By watching the free child she will discover how best she can help him: he knows his own business, and when unfettered by advice or command shows plainly that he is chiefly concerned with gaining experience. He finds himself in what is to him a new and complex world of people and things; actual experience is the foundation for complete living, and the stronger the foundation the better the result of later building. The first vital principle then is that the teacher of young children must provide life in miniature; that is, she must provide abundant raw material and opportunities for experience.

The next question is that of the best method of gaining this actual experience. The child is unaware that he is laying foundations, he is only vaguely conscious that he finds great pleasure in certain activities, and that something impels him in certain directions. He realises no definite future, he is content with the present; he cannot work for a purpose other than the pleasure of the moment; without this stimulus concentration is impossible. In the activities of this stage he probably assimilates more actual matter than at any other period of his life, and it is the same with his acquirements of skill. In happy unconsciousness he gains knowledge of his own body and of its power, of the external world, of his mother tongue and of his relations to other people: he makes mistakes and commits faults, but these do not necessarily cripple or incriminate him. He is not considered a social outcast because he once kicked or bit, or because he threw his milk over the table; he learns to balance and adjust his muscles on a seesaw, when a fall on soft grass is a matter of little importance, and this is better than waiting till he is compelled hastily to cross a river on a narrow plank. It is all a kind of joyous rehearsal of life which we call Play. We can force a child to passivity, to formal repetitions of second-hand knowledge, to the acquisition of that for which he has no apparent need, but we can never educate him by these things. "Children do not play because they are young, they have their youth that they may play," as surely as they have their legs that they may walk.

The second principle is therefore that the method of gaining experience lies through Play, and that by this road we can best reach work.

The third principle is the nature of the experience that a child seeks to gain—the life he desires to live. How can we he sure that the surroundings we provide and the activities we encourage are in accord with children's needs?

Let us imagine a child of about five to six years of age, one of a family, living in a small house to which a garden is attached; inside he has the run of the house, but keeps his own toys, picture books and collections of treasures. We will suppose that not being at school he is free to arrange his own day, sometimes alone, and sometimes with other children, or with his parents. What does he do?

He is interested in inanimate things, especially in using them, and so he plays with his toys. He builds bricks, runs engines, solves simple puzzle pictures, asks to work with his father's gardening tools, or his mother's cooking utensils. He is interested in the life of the garden, in the growing things, in the snail or spider he finds, in the cat, dog or rabbit of the family; he wants to dig, water and feed these various things, but he declines regular responsibility; his interest is in spurts.

He is interested in sounds, both in those he can produce and in those produced by others: soon he is interested in music, he will listen to it for considerable periods, and may join in it: at first more especially on the rhythmical side. So, too, he likes the rhythm of poetry and the melody sounds of words. He is interested in making things; on a wet day he will ask for scissors and paste, or bring out his paint box or chalks; on a fine day he mixes sand or mud with water, or builds a shelter with poles and shawls; at any time when he has an opportunity he shuts himself into the bathroom and experiments with the taps, sails boats, colours water, blows bubbles, tries to mix things, wet and dry.

He is interested in the doings of other people, in their conduct and in his own; he is more interested in their badness than in their goodness: "Tell me more of the bad things your children do," said a little boy to his teacher aunt, and the request is significant and general; we learn so little by mere uncontrasted goodness. He is interested in the words that clothe narrations and in their style, he is impatient of a change in form of an accepted piece of prose or poetry. He is hungry for the sounds of telling words and phrases.

He is interested in reproducing the doings of other people so that he may experience them more fully, and this involves minute observation, careful and intelligent imitation, and vivid imagination. His own word for it is pretence.