“The boy tries to see himself in his companions, to feel himself in them, to weigh and measure himself by them, to know and find himself by their aid.”—E., p. 114.
“The life of the boy has, indeed, no other purpose but that of the outer representation of his self: his life is in truth but an external representation of his inner being, of his power, particularly through plastic material. In the forms he fashions, he does not see outer forms which he is to take in and understand; he sees in them the expression of his spirit, of the activities of his own mind.”—E., p. 279.
Surely it is another touch of genius that makes Froebel spring to the nascent idea of self as the reason for the child’s craving for tales of all kinds.
“Knowledge of a thing can never be attained by comparing it with itself. Therefore the boy cannot attain any knowledge of the nature and meaning of his own life, by comparing it with itself … everybody knows that comparisons with somewhat remote objects are more effective than those with very near objects. Only the study of the life of others can furnish such points of comparison with the life he has himself experienced.… It is the innermost desire and need of a vigorous boy to understand his own life.… This is the chief reason why boys are so fond of stories, legends and tales.… The story concerns other men, other circumstances, other times and places, yet the hearer seeks his own image, he beholds it, and no one knows that he sees it.”—E., p. 305.
As Froebel shows so much insight into the paramount importance of action in the development of self-consciousness, it is not surprising to find that he recognizes also its special importance in the development of feeling.
It is probably to the late Professor James and his sparkling paradoxes that the educational world owes its grasp of the importance of expression in connection with feeling; we feel because we act, we are told, we do not run away because we are afraid, but we are afraid because we have run away. But all Froebelians had already learnt the truth at the bottom of this from Froebel’s Mother Songs.
When he wrote his earliest and greatest book, “The Education of Man,” Froebel was already far enough advanced to point out the necessity for at least verbal expression of feeling. He then advocated giving to young boys simple prayers or words by which they can express childish gratitude for care and protection, so that these feelings may be retained and deepened.
“It is natural that religious feelings and thoughts should spring up.… In the beginning these sentiments and feelings will only manifest themselves as an effect, a fullness without word or form, without any adequate expression of what they are, merely as something that uplifts our being and fills the soul. At this juncture, it is most beneficial, strengthening, and uplifting for the boy to receive words—a language for these sentiments and feelings—so that they may not be stifled in themselves, vanish for lack of expression.”—E., p. 246.
The same remark is made in connection with the teaching of poems and songs. When feeling is aroused by the contemplation of Nature, it must be expressed. When Spring brings “gladness,” and Autumn “longing and hope,” and when Winter awakens “courage and vigour,” then: