Lessons for teachers of beginners

jUN 131921

BV 1540 .D3

Lessons for teachers of
beginners

Danielson. Frances Weld

LESSONS FOR TEACHERS
OF BEGINNERS

A DECLARATION OF INDEPENDKNCE

Lessons for Teachers
of Beginners

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JUM 131921

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6y
Frances Weld Danielsom

THE PILGRIM PRESS

Boston

Chicago

Copyright, 19x4

by

Frances Weld Danielsom

Fourth Printing

THE PILGRIM PRESS
BOSTON

INTRODUCTION

"I am not worthy to be a teacher of little children"
may be the sincere cry of a fine nature, or it may be the
false claim of a Uriah Heep. The distinction can be
clearly seen by the attempt that is made to become more
worthy. The Uriah Heep type of teacher combines with
her protestations of humility a secret satisfaction with her
ideals and methods, and steadfastly maintains her dead
level. The truly humble teacher grasps at every possible
means to increase her efficiency.

In the Sunday-school teaching force there is every va-
riation of satisfied stagnation, inert discouragement and
the noble discontent that not only sees visions, but is ready
to labor to attain them. It is for teachers of the last
sort that the following lessons are written, to assist them
in achieving their purpose.

A criticism of modern educational methods is that
the memory of the child is developed more highly than
his power to think, and the tide is gradually turning
toward the cultivation of the reason. So the teacher of
today needs not only to be familiar with the views of
educational leaders ; she should have opinions of her own.
Mere knowledge or repetition of the conclusions formed
by others amounts to little unless it has passed through
the lens of her own reason.

The list of books on psychology, child study and peda-
gogy is a notable one, and these lessons make no pretcn-

[v]

LESSONS FOR TEACHERS OF BEGINNERS

sion to add to the teacher's knowledge on any of these
subjects. Their purpose, rather, is to stimulate her to
think independently, to make her own observations, and
to gain ability through practise.

In order to be helpful to groups of teachers or teachers'
unions, the lessons are arranged for use in a class, the
leader of which should employ the questions and sugges-
tions for discussion to draw out the thought of all its
members. Reviews of books, papers, or reports of re-
search work done outside the class may well be recog-
nized by a certificate at the end of the course. The
lessons are purposely made suggestive rather than ex-
haustive, that they may be practical when the class period
is short.

tvi]

CONTENTS

LESSON PAGE

I Knowing the Children ... x

II The Significance of Childhood . . 6

III The Significance of Childhood (continued) 12

IV Children as Individuals ... 19
V A Little Child's Religion ... 25

VI A Little Child's Religion (continued) . 33

VII A Little Child's Lessons ... 39

VIII The Value of the Story ... 47

IX How to Tell a Story .... 54

X Practise in Story-Telling ... 60

XI Building the Program— The Story Period . 65

XII Building the Program— The Circle Talk . 72

XIII Building the Program— The Circle Talk (cont'd) 79

XIV Practise in Conducting the Circle Talk . 85
XV Building the Program — The Remaining Parts 91

XVI The Importance of Music ... 97

XVII Seeing and Touching .... 104

XVIII Learning Through Doing . . . no

XIX Utilizing the Play Instinct ... 118

XX Our Surroundings .... 125

XXI Making the Machinery Run Smoothly • 133

XXII Home Cooperation .... 140

XXIH Festival Days . . . . . 146

XXIV The Children's Response ... 153

[vii]

LIST OF ILLUSTRATIONS

A Declaration of Independence

The Age of Dependence .

A Fearless Horseman

"I Woke Up Once in the Night"

Furnace Room Uhlized

View Showing Room Arrangement

View Showing Screen around the Furnace

A Little Helper ....

Frontispiece
facing

PAGE

7

15

28

125

129

131
158

C«]

LESSONS FOR TEACHERS OF
BEGINNERS

LESSON I

Knowing the Children

My teachers are the children, — Friedrich Froebel

The Necessity-
Yesterday the first step in the education of the teacher
was the study of the subjects it was her duty to impart
to the child, who was looked upon as an empty receptacle
into which knowledge must be poured. Today the first
step is the study of the child, who is believed to possess
instincts that it is the teacher's function to develop.

A wise educator has said, "The answer to the question.
How to teach? is contained in the answer to a second
question, How is the child able to learn?" The reply to
this comes from the child himself, and those only are
competent to answer it who know him — his nature, his
instincts, his feelings, his abilities.

Did you ever think of the intimate acquaintance Luther
Burbank must have had with plants before he was
able to make improvements in them? And he did not
know simply the plant, but the cactus, the dahlia and the
pcach-trcc. It was through his knowledge of the pecu-
liarities of these particular plants that he was able to

[1]

LESSONS FOR TEACHERS OF BEGINNERS

eliminate the spine from the cactus, to give the dahlia
fragrance, and to cultivate a peach-tree that v^^ill resist
frost.

So the teacher must knovi^ John and Mary and Sarah,
before she is fitted to form a composite picture called "the
child," the accuracy of which is in proportion to the
number of individuals w^ho w^ent to form it. For it is
the child she is to teach rather than any subject.

The Method

Once convinced of its importance, how^, then, shall we
set to work to know children? Shall we go first to the
library and steep ourselves in other people's knowledge?
Shall we analyze children as a botanist analyzes flowers?
Shall we begin by painting an ideal picture of children as
our standard?

I find certain objections to any of these methods, as
the beginning of intimacy with children. Perchance,
while we are deep in a book on child study, a real child
passes by unobserved. As the poet finds in a flower some-
thing besides petals and stamens and pistil, so the child-
lover sees that in a child to which the child-botanist is
blind. And in regard to the ideal painting, I challenge
the imagination of any one who does not know children
to exceed the charm of the reality.

It was Froebel, that wonderful seer, who disclosed the
secret, in his rally cry to all who would help childhood,
"Come, let us live with our children!"

Mothers have a great advantage over other women in
living with their children, at least, literally; yet I some-
times wonder if many mothers do not live with their chil-
dren's bodies, and dwell quite outside the realm of their

[2]

KNOWING THE CHILDREN

minds. There are mothers who are better nurses than
companions; but the mothers who do enter into the
mental and moral, as well as the physical life of their
children, have a wonderful opportunity to become so sym-
pathetic with child nature that they will be a blessing to
childhood, long after their own little ones are men and
w^omen.

And is this call of Froebel to mothers only? Because
a woman neither bears nor rears children, is she barred
out of their lives? She may enter, if she will. She may
be the enchanting story-teller, who comes with her tales
at bedtime. She may be the fairy godmother, who
touches the dullest task with her wand and turns it into
a fascinating game. She may be the lady who gives
parties for children, even, they will tell you, when it is not
her birthday. She may be the fascinating correspondent, as
Phillips Brooks was to his nephews and nieces. She may
be the grown-up visitor who is watched for, the chosen
companion for a walk, the confidante of small secrets, the
recipient of baby gifts.

You think by so doing she is getting far away from
Sunday-school teaching? Ah, no! she is drawing very,
very close, for, little by little, she is entering into the minds
and hearts of the children she teaches. She is learning to
speak their language, to enjoy their pleasures, to think
their thoughts, to realize their needs.

The Example

Do we require an example? We have one that is
notable. When mothers brought their little ones to Jesus
and the disciples sent them away, even an ardent child-
lover of this age can appreciate their point of view. The

[3]

LESSONS FOR TEACHERS OF BEGINNERS

pressing needs of the sick and the sinning, the work of
extending the new teaching that was bringing life to an
old religion were so important that surely children could
wait — children, who, so far as we know, were neither sick
nor needy but quite normal. In a sentence Jesus made
a total readjustment of values, as he said, "Suffer the
little children to come unto me, and forbid them not,"
and turned from the crowd to cultivate the friendship of
children.

The Reward

You may well feel that your labor to gain a knowledge
of children is rewarded by your increased power as a
teacher, and that the love of children which comes from
a deeper acquaintance is a blessing beyond compare. But
if, in the pride of j^our heart, or in the real desire to be of
service, you are filled with an undue sense of your im-
portance to childhood, look into your own life, and see
what their companionship means to you.

You are aging and would fain call back youth? But
see, your old-time enthusiasm, your credulity, your
optimism are coming back! They — the little ones — arc
bringing them to you. You are young? Yes, but the
self-control, the patience, the poise, the sympathy that
crude youth lacks — all this you are gaining. They — the
children — are demanding it of you. You are a mother
burdened with your responsibility? Your wider ac-
quaintance with childhood is giving you a new grasp of
your own children's problems. You have missed mother-
hood ? Here is your opportunity to wear for a time that
crown.

You may say that you cannot afford the time for this

[4] .

KNOWING THE CHILDREN

study of children, but whoever you are, old or young,
married or single, busy or idle, let me tell you that rather,
a thousand times rather, you cannot afford to miss the
wonderful privilege.

SUGGESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. What opportunities has a teacher in a city Sunday school
to become acquainted with her children during the week? a
teacher in a country school ?

2. Explain why joining children in their play helps one to
understand them.

3. Where outside of Sunday school can a teacher tell stories
to children, and how will this help her in her teaching?

4. Name some stories that appeal to children of this age.
Good sources are "How to Tell Stories to Children," and
"Stories to Teil to Children," by Sara Cone Bryant.

5. Do you agree with the ideas in Chapter I. from "The Chil-
dren of the Future," by Nora Archibald Smith?

6. Read and comment upon pages 1-4, from "Talks with the
Training Class," by Margaret Slattery.

t5]

LESSON II
The Significance of Childhood

When I was a child, I spake as a child, I felt as a childj
I thought as a child, — Paul the Apostle

Has It Meaning?

Scarcely more distinct are the four stages of the butter-
fly— the egg, the caterpillar, the crysalid and the winged
creature — than are childhood, youth, middle age and old
age in a human life. Each period has its peculiar quali-
ties, and an important result of the child study suggested
in the last chapter is an understanding of the general
characteristics of childhood.

Perhaps the first question to settle is our attitude to
these universal tendencies. Are they to be eradi-
cated or promoted? Are they implanted by the
Creator merely that the child may gain strength through
overcoming them? Is it God's plan that human nature
be made over entirely in order to please him who formed
it? For, whatever may be said concerning individual
traits, it seems hardly possible that qualities common to
childhood should come to it by chance. Is the efficient
teacher to be armed with a pruning knife? Are bird,
beast and fish provided with instincts necessary for their
existence, while the child's inborn characteristics must be
rooted out before he can be called a child of God ?

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'IHE AGE OF DEPENDENCE

THE SIGNIFICANCE OF CHILDHOOD

The only way for us to come to a decision is to con-
sider these general characteristics and judge whether they
are helps or hindrances to the child's development. We
must not make the mistake of viewing them as they appear
in old age, middle age or youth, but decide whether they
are an asset or detriment to childhood, with its limita-
tions ; whether they prepare or disqualify for later periods
of life; and whether it is possible that these very tend-
encies, which might be distinctly evil carried on to man-
hood or womanhood in the same form, may not have their
function in childhood.

Is It Inferior to Animal Life?

Children are frequently termed 'little animals," but in
one important respect they appear to start out in life
rather less advantageously. How does a child of a week
compare in his physical equipment for the world with a
bird of the same 'age?* Has a colt any advantage over
him, when both are a few days old? If you had to
depend entirely upon yourself at birth, which would you
prefer to be, a child or a codfish? Has a four or five-
year-old child reached the full development of his physi-
cal powers? Compare such a child with the animals
referred to, at a similar age. What, then, shall we note
as a universal characteristic of little children in contrast
to young animals?

^The questioning method is employed to draw out the thought
of the class, and to induce discussion. The blackboard should
be used to record conclusions formed, but it is pedantic and
deadly to original thought and inductive teaching to insist upon
any special word or phrase in the teacher's mind. The sugges-
tions of the class should be used if they express the idea, even
though less felicitously, the object being to stimulate thought, not
to produce perfect outlines.

[7]

LESSONS FOR TEACHERS OF BEGINNERS

At first consideration this prolonged helplessness (de-
pendence or weakness) seems a decided disadvantage. On
further thought we wonder whether it can have any con-
nection with the great contrast in human and animal
family relations. Of how long duration is a mare's fond-
ness for her colt ? Parent birds' care of their young? Is
there such a thing as codfish family life? Might the long
need of nurture promote love between parents and chil-
dren? Would you, then, consider it better for a child to
require care for a comparatively long time than to start
out in life highly developed ? Do you see God's hand in
this?

Is It Handicapped?

Look also at the mind of a little child. Is he born
with knowledge of the world into which he comes, as the
codfish seems to be? Even though he may be too weak
to feed and clothe and care for himself, does he know
how? If only the accumulated knowledge of his ances-
tors had descended upon him, so that he might begin where
they left off! What a pity that his father's learning, as
well as his property, is not a part of his heritage ! Why
must he begin life inarticulate and ignorant, when the
wild creatures can speak their language and get their
own food soon after birth?

Yet, handicapped as he appears to be at first, he soon
leaves his animal contemporaries far behind. He has in-
herited capacities for obtaining knowledge far greater
than those of any animal. If his knowledge were ready-
made, would there be a chance for original development?
It is often said that no two children are alike. How
about young codfishes ? Higher in the animal scale there

[8]

THE SIGNIFICANCE OF CHILDHOOD

are greater individual differences, but they are slight com-
pared with those seen in human beings. Isn't it plain
that the very ignorance of childhood is an asset, a plan of
God?

Its Timidity

There is an emotional characteristic of little children,
which is the natural result of their ignorant helplessness.
The story of a little boy's day will help you to think what
this is.

In the morning this little boy comes running in from
his play. "Bear! naughty big bear!" he cries. His mother
soothes him and explains that the big dog is not a bear,
but a delightful playmate. She takes him to walk and
a stranger pats him on the head, whereupon he hides
behind her. They attempt to cross the street and he
draws back as a puffing, snorting automobile rushes past.
In the afternoon lightning flashes and thunder rolls,
whereupon he hurries to his protector, in tears at the un-
usual noise. At night, when the dark blots out all the
dear, familiar, household things, his mother's lap seems
the only safe place.

Is this a natural picture? Not every child is as fearful,
but this little boy's fears are those typical of childhood.
Surely this cannot be God's plan, you say, unless he de-
sires a race of cowards. However, when animals are too
weak to challenge danger, they flee from it. May not
the child's fear be a necessary consequence of his igno-
rant helplessness, tending to self-preservation? Suppose
the harmless dog had been a bear? Is it safe for a
child to go to any stranger? Loud noises and swiftly-
moving objects are often a menace to his welfare; and if

[9]

LESSONS FOR TEACHERS OF BEGINNERS

the dark were to him as the daylight, into what dangers
might he not fall?

Certainly we do not wish the little child to be timid
all his life, but what we are considering now is the im-
mediate effect of fear upon him. Many psychologists
call the universal fears of childhood, such as those men-
tioned above, a heritage of the race, because the
child needs them for his safety, as did his savage
ancestors. They do appear to be really from God, even
though we try to modify or eradicate them in later years.

Its Lack of Self-Control

Who that knows children has not grieved over the sight
of an infuriated little boy lying on the floor screaming
with rage, or a flushed little girl striking out with her
fists or even biting some offender! Such manifestations
bring children close to the level of animals. "The little
beast!" we exclaim. "The young savage!"

James Sully says of the child, "That he often shows
so close a resemblance to the brute suggests how little
ages of civilized life with the suppression of these furious
impulses have done to tame down the ancient and care-
fully transmitted instincts."

And yet, can you honestly say that it would be better
for a child never to experience anger? The anger of
animals results in their self-protection. Is it sometimes
so with children? Would you admire a child who
tamely submitted to injury or opposition? Has anger a
legitimate function in adult life? Did Christ ever show
anger? Mention instances of passionate outbreaks of
children and their causes. Should you say that these
causes were usually selfish or altruistic? Might the cause

[lo]

THE SIGNIFICANCE OF CHILDHOOD

determine whether anger is right or wrong? Do you feel
that there can be any divine plan in this apparently un-
pleasant characteristic ?

Its Self -Absorption

Isn't the child a pretty selfish sort of being? He be-
gins life crying for food and warmth. At four and five
he is scarcely capable of any great self-sacrifice. We see the
same tendency in the animal world, calling it the "Strug-
gle for Life" and the result the "Survival of the Fittest."
The instinct lor self-preservation, the "will to live," is
predominant.

Could life continue without it? The infant whose
cries did not proclaim his lack of nutriment might starve
to death. When we think of this aspect of the case,
selfishness resolves itself into "self-feeling," as this phase
of childhood has been happily termed, and the possibility
of eventually attaining the heights of self-sacrifice seems
none the less because of early childhood's absorption in
itself, that it may protect and know itself.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Review "The Meaning of Infancy," by John Fiske.

2. Give your opinion of "Child Nature and Child Nurtqre,"
by Edward P. St. John, pages 31-37; or "Children's Ways," by
James Sully, chapters 7 and 8.

3. Mention evidences of fear you have observed in children.

4. Are your views on children's anger influenced by "Child
Nature and Child Nurture," pages 44-51?

5. Give your ideas on the necessity or disastrous eflPect of
"self-feeling" in children.

6. State your reasons for considering the characteristics dis-
cussed divinely planned or matters of chance.

[II]

LESSON III

The Significance" of Childhood {continued)

One of the greatest lines of work lies before us: the
understanding of little children, in order that they may
be properly trained. — Elizabeth Harrison

The Natural Way of Growth

Imagine yourself in a room with a number of little
children entirely unrestrained. What would you notice
about them? Is the same thing characteristic of your
Beginners' circle, before the session? For how long have
you seen a little child keep perfectly quiet? Did this
physical activity begin in babyhood? As you deal with
children, do you find it annoying? Shouldn't they be
forced to be quiet? Is this a possibility? Do you see
any reason for such constant motion?

I like Drummond's fancy of primitive man sitting in
the sun, with no desire to do otherwise, till nature by
moving forces him to action. The sun moves to the west
and he must move or freeze. The wild creatures move
toward him and he is obliged to escape them. His food
does not fall into his lap ; he must get it. And so through
this forced activity he grows capable of more diverse
deeds. He is no longer a mere being sitting in the sufT:.
He is a hunter, a builder, a thinking, acting, developing
man.

[12]

THE SIGNIFICANCE OF CHILDHOOD

I like, too, the first picture of Froebel's ''Mother Play,"
called *Tlay with the Limbs." It depicts a mother's in-
stinctive encouragement of her baby's impulse toward
activity by pressing against the tiny kicking feet. It
illustrates, also, in sketches of a whirling mill-wheel, a
toiling woman and spreading trees, the great principle of
development through self-activity.

If stagnation is a sign of death, there are possibilities of
increased life in a child's activity. That it should be
guided is as evident as that the fear and anger and self-
feeling necessary to childhood must be modified as a child
grows. That the activity of childhood spells future
power is equally apparent. Thus in an infant's kicks and
a little child's restlessness we discover the far-seeing plan
of the Father of all.

How the World Enters

Not only is a child's body in almost constant motion,
but his mind is equally active absorbing the impressions
that come trooping in through the five avenues that lead
from the w^orld to himself.

"As each new life is given to the world,
The senses — like a door that swings two ways —
Stand ever 'twixt its inner, waiting self
And that environment with which its lot
Awhile is cast.

A door that swings two ways:

Inward at first it turns, while Nature speaks,

Then outward, to set free an answering thought."

At this age are the senses very impressionable?
Through what senses does the child gain most knowledge?
Is he capable of arranging and coordinating his impres-

[13]

LESSONS FOR TEACHERS OF BEGINNERS

sions? Can you see why early quick perceptions are
necessary to acquaintance with the world? Think of the
full storehouse the child will have to draw upon in years
to come!

A Pleasant Means to Knowledge

One way in which a child's mental activity shows
itself you must all have observed. Why does a baby wave
his hand? Is it a child's natural manner of saying good
bye? No; he is trying to imitate the motion of his
mother's hand, that he has often seen waved. Over and
over again his patient mother says "Mamma" to an ap-
parently unresponsive listener, til one day he attempts to
reproduce the word. The dog barks and he calls him a
**bow-wow," the clock is a ''tick-tick," the engine a "choo-
choo," — these names being mere imitations of the noises
made.

He grows older and we see him at his play — prancing
like a horse, teaching like his school teacher, pounding as
the carpenter pounds, and marching as the soldier marches.
Most of these early plays are merely imitating the activ-
ities about him.

And is this of any use at all, do you ask? Can God
wish his children to be mere copyists, only reflections of
those around them? Ah, but think what a child learns
through imitation ! He understands the meaning of any-
thing he acts out. It becomes part of himself. Thus
language is acquired, thus a child gains skill in the use of
his hands, and thus, through learning to comprehend the
life of others, he takes a long step from egoism to "other-
ism," and the distant future shows us the early manifesta-

[14]

A FEARLESS HORSEMAN

THE SIGNIFICANCE OF CHILDHOOD

tions of imitation grown into the endeavor to pattern his
life after the life of Christ.

A Wondrous Gift

We need not fear that children will become uninter-
esting and uniform, for there is one characteristic of
childhood that saves them from this. Let us take a walk
with a child I know, and you will understand what I
mean. We pass a field where corn-stalks are piled up.
"See the funny old women bowing at each other," she
says. The next moment she pulls my hand and breaks
into a run. "Somebody's chasing us," she cries, and we
hurry away from the imaginary foe. "See my sword!"
she continues, brandishing my parasol. Then her eyes
grow dreamy. "Why, there's a dolly in a red silk dress!"
she says, pointing to a bush covered with red berries.
"See her skirts wave! I think she Is dancing."

What is this wonderful, vivifying child-quality, that
makes a palace out of a hovel and transforms the most
prosaic surroundings into fairyland? What is the al-
chemy that changes a child in his own feeling into the
person or animal he pretends to be? This is a power
quite distinct from any possessed by animals, for, as James
Sully says, "A cat or a dog will be quite ready to go
through a kind of make-believe game, yet even in the play
the cat remains the cat, and the dog the dog."

Surely none but a Gradgrind, to whom fact only is
truth, can help regarding the imagination as a blessed
possession, and to whom can we attribute anything so
marvelous but to a divine power? The fancy of child-
hood will one day make possible the formation of ideals
that will be the guiding stars of life.

[15]

LESSONS FOR TEACHERS OF BEGINNERS

A Path to God

There is a certain punctuation mark that well typifies
the young child. What is it? The interrogation point,
to be sure. How do you feel about this tendency of chil-
dren to question? Do you consider it a '"eal nuisance?
Try to imagine a child who never asks a question. How
would he learn anything? You may say you would be
only too delighted to impart information, if you could
choose your time and manner of doing so, but are you
quite sure you would never forget to? I firmly believe
that the children's questions are a necessary prod to even
the best-intentioned educators.

The great forces of nature are a constant wonder to
a child. The sun that kissed his face only this morning is
fast disappearing. "Who is pulling it down behind the
hills?" he asks. The rain wets his face. ''Where does
it come from?" he wants to know. The rainbow arches
the sky. "Who painted it?" he wonders. He searches
for the cause of the invisible wind.

"I felt you push, I heard you call,
I could not see yourself at all!
O wind, a-blovving all day long,
O wind, that sings so loud a song!"

He gazes in astonishment at the spangled heavens and
cries,

"Twinkle, twinkle, little star.
How I wonder what you are!"

And as his curiosity is plainly a very important means
to knowledge, so that particular phase of curiosity which
seeks for a cause behind nature's marvels is as plainly a
path to God.

[i6]

THE SIGNIFICANCE OF CHILDHOOD

Appealing Characteristics

Does a little child challenge your statements, or is he
inclined to believe them? Isn't credulity a characteristic
of this age? Would it be easier or harder to teach a
child, were this not so? Try to picture a skeptical little
child. This is scarcely thinkable, so accustomed are we to
the faith of early childhood. Possibly it is this especial
trait of trust, which leads to teachableness, that Christ
alluded to when he said, "Except ye turn, and become as
little children, ye shall in no wise enter into the kingdom
of heaven."

And this is closely related to another distinctive quality
of early childhood. Is it difficult to turn a little child's
attention from one thing to another? Give an instance
of this which you have witnessed. His suggestibility, as
well as his credulity, helps to make him teachable, and as
some one has said, "Teachableness is the condition of all
growth in the kingdom of science and in the kingdom of
heaven."

The Heart of a Child

The last characteristic of childhood that will be outlined
is one denied by people who call children "cruel little
brutes, without real affection." Do you believe that a child
has natural sympathy and love? How have you seen him
act when a grown person is suffering? Does he ever
torture an animal and seem amused at its contortions?
Yet doesn't he like to be near his friends? Isn't he affec-
tionate toward his mother? Doesn't he mourn when she
leaves him? His moist kisses, his tight hugs, his wish
to be cuddled — are not these evidences of affection?

It is true that one person quickly displaces another in

[17]

LESSONS FOR TEACHERS OF BEGINNERS

a child's heart, that he may apparently forget an absent
parent, that he loves those who make him comfortable,
and fails in sympathy simply because he has no knowledge
of the suffering he witnesses. But it is also true that this
evanescent, selfish feeling in the little child is the germ of
"the greatest thing in the world" — love, the love that,
beginning as a sporadic affection for whoever ministers
to his physical needs, will little by little think less of
benefits received and more of those it can bestow. As
Drummond says, "The Struggle for the Life of Others is
the psychological name for the greatest word of ethics —
Other-ism, Altruism, Love."

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Report pages 41-46, from "The Unfolding Life," by An-
toinette A. Lamoreaux.

2. Make a list of all the early plays of children you can
recall, and then analyze them to find how many are purely
imitative.

3. Analyze again the list of children's plays you have made
to find how many are imaginative. Discuss chapters on "The
Realm of Fancy" and "The Enchantment of Play," from
"Children's Ways," by James Sully.

4. Read pages 33, 34, 38 and 39, from "The Child and His
Religion," by George E. Dawson, or pages 44-53> from "Chil-
dren's Ways," and compare children's questions you have heard.

5. State your feeling as to whether love and sympathy are
instinctive in young children.

6. Name any characteristics not mentioned in these lessons
which you consider of great significance in childhood.

[18]

LESSON IV

Children as Individuals

No amount of ''child study'' will save teacher or mother
the trouble of studying her own children. — Edward Por-
ter St. John

"The Child" and the Individual

In our second lesson we compared children with
young codfishes, and gave as one of the advantages of the
child's helpless infancy his capacity for individual develop-
ment. We then proceeded to consider characteristics
common to childhood — the ''alikeness" of children — and
discovered these general traits by picking out the same
quality as it appears in this, that and the other child of
our acquaintance. Suppose we now look at the matter
from the opposite point of view, and, regarding these
general characteristics as a standard, find out how far
individuals depart from it. In other words, having with
painstaking care painted a picture of that hypothetical
being, "the child," we will compare with it child photo-
graphs from real life.

Exaggerated Common Traits

The most ordinary way in which a child shows indi-
viduality is in possessing some common trait in an

[19]

LESSONS FOR TEACHERS OF BEGINNERS

exaggerated or a limited degree. Let us see how true
this is/

Is the shy child an anomaly? No; he simply has an
unusually large amount of the fear common to helpless,
ignorant childhood. No more is the so-called ''bold
child," over-confident and reckless, a monster, but he
merely has less than the customary amount of fear. The
deficient child is abnormally ignorant, and the precocious
child develops prematurely. There are the same two
extremes physically — the child who begins life more help-
less than most infants, and the one who starts out with a
great degree of strength.

The passionate child is overcharged, as it were, with
the impulse of anger, and the spiritless child has scarcely
enough to enable him to hold his own. There is the
extremely imaginative child, who dreams dreams, and the
matter-of-fact child whose vision is more nearly limited to
things actually seen, although no child, fortunately,
reaches the dead level of realism possible to adulthood.

The affectionate child has a strong love impulse, and
occasionally we come across a child who seems entirely
unloving. We say of one child, "She is a perfect little
mimic," when the power of mimicry is highly developed.
"Do watch me and try to do it just as I do," we beg of
the child who is somewhat lacking in that regard.

The nervous child is an illustration of abnormal and
the phlegmatic child of subnormal activity. The "little
pig" has so keen a sense of self that there is absolutely
little else, while the "generous dear" shows evidence of

*The best method to pursue with a class is to ask the mem-
bers to mention some particular type of child and trace his
chief characteristic to one common to childhood, as is done in
the following paragraphs.

[20]

CHILDREN AS INDIVIDUALS

outgrowing egoism somewhat earlier than most children.
The destructive child may be the scientist in embryo,
whose curiosity takes the practical form of trying to find
out how things are made. On the other hand, the child
who takes everything for granted and asks few questions
has not enough of the inquiring tendency which leads to
knowledge.

Thus it is intensely interesting to discover what general
characteristics are prominent and what are inconspicuous
in the children we know; to see how his salient character-
istic gives a child a certain individuality; to realize how
far removed, after all, is each individual child from that
composite, "the child," which he has helped to form.

Child Types

There are, besides, the more strikingly distinctive chil'
dren, who fascinate or perhaps baffle us, well-versed in
childhood-as-it-usually-is, by showing us childhood-as-it-
occasionally-is.

I have a little girl friend who has always been a verit-
able coquette, affectionate one moment and unapproach-
able the next, sometimes courting my favor and again
quite without cause frowning upon me, and combining the
coyness of a maiden with the uncompromising frankness
of a child. Who would exchange "the child" for this
alluring personality?

There is the merry child, good-natured and sunny, who
laughs his way into our hearts, and makes us forget the
tragedies of this old world and decide that it's a pretty
jolly place after all. Poor, correct "the child," where
are you in contrast?

Then, alas, there is the child who "won't." Won't

[21]

LESSONS FOR TEACHERS OF BEGINNERS

what? Never mind what — just won't anything. Do
you pine then for ''the child," and feel you have your fill
of individuality? Ah, but can the satisfaction of dealing
with a conventional child equal the joy of being able to
change the "won't" to "will"? And behind the obstinacy
lies often a wonderful capacity for loyalty and tenacious
adherence to principle.

I once knew a child who surprised me continually by
his quick perceptions and reasoning powers. He was
healthy, fond of play and perfectly normal, except that
he appeared to forget absolutely nothing he had heard, and
instead of the usual credulity of childhood, reasoned
things out for himself, formed quite remarkable opinions,
and asked very thoughtful questions.

I know a little girl of five, who rarely asks a question
when she can puzzle out the answer for herself. She
has carefully mapped out the universe from the data given
her, and her own explanations of the way things are
managed are so evidently satisfactory to her, that she

scorns to ask any one else's views. "How " she will

begin, and then add immediately, "Oh, I know!" and
give her own solution. With unfailing confidence every-
thing is finally referred to God, and all mysteries ex-
plained by him.

Another child I know seems incapable of continuous
attention. Her power of concentration is so limited that
during a three-minute story she either wriggles and twists,
plays with her hair ribbon, swings her feet, or tries to
attract another child's notice. Her chief idea is to get
the conversation into her own hands, when she will con-
duct a monologue as long as I will listen, darting from
one subject to another in the most irrelevant manner.

[22]

CHILDREN AS INDIVIDUALS

There is a child of my acquaintance who has always
been brimming over with mischief. Her teasing propen-
sity is enormous, and she frankly declares, "I like to be
naughty." When she joins a group of children, there is
certain to be dissension, and yet in spite of this she is popu-
lar, for she is enthusiastic and inventive in play, and
though there may be friction, there is never stagnation
when she is present.

Certain children, even at a very early age, take the
initiative among their playmates and are real leaders.
With this capacity for leadership is usually combined a
slightly patronizing attitude toward younger children,
which manifests itself in officious care and imparting in-
formation gratuitously. The small ''boss" will brook no
interference with his authority, and his petty tyrannies
are ludicrously like those of an adult leader.

Accurate Character Reading

It is very possible to be deceived in the type of child
from appearances, unless one is a keen reader of child
nature. A child may meet your most enthusiastic over-
tures without a particle of demonstration, and display no
emotion at your pathetic tale. He may remain stolid
through the songs, and appear to endure rather than enjoy
representing a tree or a flower. Yet you may hear from
his parents that he repeats nearly every word you have
said, and find that his inanimate face is but a mask.

The child who laughs gleefully when you tell a pathetic
story is not necessarily imbecile — he is simply amused over
r.n unusual expression or gesture, and is thinking of that
rather than of the tale. The child who bursts into tears
easily may not be extremely emotional, but nervous from

[23]

LESSONS FOR TEACHERS OF BEGINNERS

insufficient nourishment or sleep. The child who appears
stupid may be merely shy. It does not follow that the
child who wants to occupy the center of the stage and to
answer every question and join in every occupation is
brilliant. We must know them very well indeed — these
puzzling children — before we clap on our labels.

After all, as we become really acquainted with the chil-
dren, we do not regard them as types but as individuals
— just Jack and Richard, Mary and Frances, with their
own special combinations of characteristics which, to-
gether with an intangible something impossible to de-
scribe, make personality.

The study of childhood's general characteristics has
make us more alert to discover peculiar traits, and the
construction of "the child" has helped us to see the charm
and fascination of individuality and recognize the re-
sponsibility of understanding it.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Name three distinguishing traits of individual children
that are really only exaggerated general characteristics.

2. Name three distinguishing traits of individual children
that are evidence of a smaller degree than customary of cer-
tain general characteristics.

3. Describe the particular type of child written about in
"The Children of the Future," by Nora Archibald Smith, in
the chapter entitled "A Dumb Devil," or in 'An Unwalled
City," or "Perilous Times."

4. What sort of behavior in a child may be contrary to his
real character?

5. Describe a child you consider "difficult."

6. Write a short sketch of the child that particularly ap-
peals to you.

[24]

LESSON V

A Little Child's Religion

Everything in a child's surroundings should be inter-
preted religiously. — George Ellsworth Dawson

Where It Is Found

Exactly what is your conception of religion? Let each
member of the class give an offhand definition/ The
ordinary use of the term would seem to exclude it from
children's lives. At first thought a religious child is a
monstrosity, and to connect religion with a child is like
dressing him in miniature adult garments. Indeed, the
religion that is taught children is too frequently of this
kind — made up of adult thoughts, even though couched
in child language. How many infant catechisms have
been composed merely by simplifying words, and how we
have attempted to reduce profound creeds to their lowest
terms by modifying their phraseology!

Let us listen to that fearless disregarder of precedents,
Friedrich Froebel, who calmly announces: "Education
and Instruction shall from the very first be passive, ob-
servant, protective, rather than prescribing, determining,
interfering. . . . Education is, simply, helping the Divine
within us to come forth, to act." Can you not see the
horrified amazement of those educators of his day who

* These replies will influence the discussion which will nat-
urally grow out of them.

[25]

LESSONS FOR TEACHERS OF BEGINNERS

were accustomed to use arbitrary methods of forcing
knowledge into their pupils? Hear again the deliberate
statement of a mature thinker: "There is nothing so nat-
ural to the unsophisticated human being as God." Listen
once more to these words of a modern educator: "Those
who accept this philosophy" [recognizing the value of the
natural interests of children] "have always sought in the
child the germs of religion."

Do you then think there is such a thing as natural reli-
gion ? Are we actually to observe and protect the germs of
religion in a child, and not force upon him a totally
foreign theology? Men who have studied primitive
races find them naturally religious. Plutarch says: "I
have seen people without cities and organized government
or laws, but people without shrines and deities I have not
seen." So the little child, of whom primitive man is the
prototype, early shows instincts that, I believe, are a grop-
ing after God. Isn't it an instinctive sense of the spiritu-
ality of the universe that makes him personify trees,
stones, the rain, his playthings, even the furniture? By
insistent questions he seeks the cause behind the wonders
of nature. The idea that there is an invisible as well as
a visible world seems natural to him.

Do you think that the observant and passive attitude
Froebel advocates, protecting the child's instincts and
answering his natural questions, would give him the
religion he requires? Some one has said, "I believe a
child has a native need for a theology, and that if he is
not given one he w^ill create it." Surely these unmistak-
able signs of interest indicate a vital longing that should
be satisfied, and, as surely, we must find the clue to the
little child's religion in himself.

[26]

A LITTLE CHILD'S RELIGION

How It Gives Satisfaction

Suppose, then, we regard the little child in the light of
his characteristics, as we have discovered them, and see
how they show both his need and his capacity. Consider,
in the first place, his helplessness. We have agreed that
it promotes family affection. Does it indicate any need
besides that of parental care, which religion can supply?

George Hodges' definition of religion is this: — "Reli-
gion is human life plus God." Will it induce a feeling
of confidence in this dependent little child to know of
One who cares for his parents as well as himself? Will
it not fill him with a sense of security, similar to that pro-
duced by the warm grasp of his father's hand and the as-
surance, "Mother will take care of you?" Finding that
the answer to his queries as to the cause of things is God,
he finally regards him as the author of all his blessings.
His warm coat, his new suit, his good breakfast, his drink
of water, the fire that warms him, the house he lives in,
the pretty things that give him pleasure, even his own
father and mother, without whom life would be incon-
ceivable, all are gifts of the heavenly Father.

This is what Louise Seymour Houghton happily calls
"God-consciousness." This is what Dr. Dawson means
when he says, "Everything in a child's surroundings
should be interpreted religiously." This is the natural
path from the seen to the unseen, from the little child's
life to the meaning of life.

That this brings infinite satisfaction, no one doubts
who has seen the response in a child's face, as this "God-
consciousness" takes possession of him. It was this that
inspired my small Scotch laddie to say, in his deliberate
fashion, as he looked about the Beginners' room one Sun-

[27]

LESSONS FOR TEACHERS OF BEGINNERS

day, "Everything in this room — my new coat, your hat,
the flowers on your table, the chairs, I guess the pictures,
and the sunshine coming in the window — they all belong
to God." And a sigh of perfect content followed.

That this attitude induces love any one will affirm
who has noticed the tone of a child's voice, as he says
"Heavenly Father," or seen a small face light up, as did
the four-year-old girl's, as she told her teacher, "I think
to myself and I say to my mother, *I wish I could see
God.' "

How It Lessens Fear

Ignorant as well as helpless, and therefore fearful, the
little child revels in the knowledge that this world is
not chaos, but that there is a Power behind, ordering and
planning. The fact that one's mother is in the house gives
the empty room a sense of being inhabited. The knowledge
that God's sun is certain to rise in the morning and that
his stars keep watch robs the night of its terrors. "I
woke up once in the night, and I was afraid," a child said.
"I was going to call my mother, but then I thought,
Tooh ! heavenly Father's taking care.' And I didn't."

Gradually increased knowledge will put ignorant fear
to rout, but for a little child there can be no better first
step toward quieting his terror than to help him feel what
he is blindly groping toward — that there is a cause, a
reason. One all-wise and all-powerful, who orders the
universe, and plans for the daily needs of little children.

Gladly would we keep from the little child all knowl-
edge of death, but it enters our homes, and forces its
acquaintance upon them. Even this fear, which is more
universal with little children than many people realize,

[28]

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A LITTLE CHILD'S RELIGION

may be turned into glad anticipation by simply confirming
the child's instinctive belief that life cannot cease, and
picturing a wondrous "other home," prepared by the same
loving heavenly Father. The interpretation of death,
then, is the door of heaven, and I have heard more than
one child speak in the most natural, joyous w^ay of the
time *Vhen I go up to heaven."

How the Child Reaches After It

The child's w^ondering curiosity is continually, as we
have said, pleading for satisfactory answers. Can we do
less than pay attention to these queries, and let our chil-
dren see God behind the flower, the tree, the wind that
blows and the sun that shines? God the Creator as well
as God the Protector appeals to the little child, and is
the answer to the class of questions which seek the cause
of all that is. "God made it"; "It is the heavenly Fa-
ther's plan" are satisfactory replies, and I have never
known a child to be distressed when I admitted, "I do
not know% but God knows."

It is also natural for children to try to trace all things
back to their beginning. "Who made the very first
bird?" they ask. "How did the first teacher who ever
taught learn anything?" "What set on the first hen's
egg?" Isn't it significant, this groping for a beginning?
Shall we deny the child the answer he is seeking? For,
as Dr. Dawson writes, "Parents and teachers help him
to name his God, not to discover him." A little girl once
asked, "When did heavenly Father live?" *'Why, of
course," I answered, "it must have been before the flow-
ers, because he made them, and before — " "The leaves,"
she continued, "or the trees or the rain." "Or before the

[29]

LESSONS FOR TEACHERS OF BEGINNERS

earth even," I said. Then she looked up at me with serious
eyes. "Was God the beginning?" she said.

I often think of the incident related to me by a woman
whose life had held much that was hard. "When I was
a little girl," she said, "I criticized some of the old-
fashioned columbines, and said I thought God might have
made them hold up their heads. My busy mother left
her baking to take me in her lap and say, impressively,
'Everything God makes is made in the very best way.
You will find this true always.' Next day I came in
with a May basket, the columbines arranged around the
edge. 'See! they just fit,' I said. Tm glad God made
their heads hang down.' That thoughtful explanation of
my mother made an impression from which I have never
recovered."

What can be more w^orth our time than to answer our
children's wondering questions, and so lead them in this
natural path to God !

Of What It Consists

What conception will the little child form of the in-
visible God ? Isn't it summed up in the title most appeal-
ing to childhood — the heavenly Father ? The great prin-
ciple of learning the unknown through the known lies at
the base of this idea of God. Care, strength, love, wis-
dom— all these are personified to the little child in his
parents, and so God will be to him a great Father, a
loving Parent.

Curious are the fancies of children in regard to God,
but those will be outgrown, and need not be a cause of
distress. Children cannot understand spirit nor deal in
abstractions, and if we remember that a child can know

[30]

A LirrLE CHILD^S RELIGION

something of his father, in relation to himself, although
he cannot appreciate all the qualities that make up his
personality, we will see that in the same way a little child
can know something of God, in his relation to himself,
although he must grow gradually into a fuller knowl-
edge of his attributes and nature.

There can hardly be love without communication,
and a mere child may, wonderful as it seems, speak to
God. This is what prayer should mean — a simple speak-
ing to God, as to an earthly father. Any one who has
observed the prayers of children will marvel at their im-
plicit faith in his power and goodness and interest in their
aifairs, which leads often to naive accounts of little hap-
penings.

Such prayers, with unforced expressions of thanks, or,
more truly, of gladness for benefits received and simple
songs of praise constitute the little child's worship — wor-
ship in its very simplest form, but containing the necessary
elements of love and reverence.

And this "God-consciousness," after which he has in-
stinctively been groping, with its natural response of love
and trust, constitutes the little child's theology.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Review "The Child and His Religion," by George E.
Dawson, chapter on "The Natural Religion of Children."

2. Give any instances you have known or read of a child
showing evidences of relief or satisfaction or the lessening of
fear at the idea of the loving, heavenly Father caring for him.

3. Give George Hodges' views in "The Training of Chil-
dren in Religion," pages 18-24, 32-36.

4. Mention children's questions that you consider worthy
serious answers.

5. Write out the ideas about God of children you know.
Compare them with "Children's Ways," by James Sully, pages

[31]

LESSONS FOR TEACHERS OF BEGINNERS

78-84, or "The Training of Children in Religion," by George
Hodges, pages 40-43.

6 Compare your own knowledge of children's prayers with
the* chapter on "The Child's Religion," in "As the Twig Is
Bent," by Susan Chenery.

[32]

LESSON VI

A Little Child^s Religion {continued)

What we make our children love and desire is more
important than what we make them learn. — John Quincy
Adams

Religion and Life

In the last lesson I asked you to define religion. To-
day I want you to tell me, as briefly as possible, what is
your aim in giving little children religious instruction, and
just what you hope to accomplish/

As we have already said, certain qualities in the little
child indicate not alone specific needs, but an instinctive
groping after One who shall satisfy these needs. The
question now is, when we have helped the child to find
God, have we done all that is sufliicient? If we succeed
in leading him to the Father, is that enough? Have we
"interpreted his surroundings religiously," when we have
opened his eyes to the vision that lies behind everything,
and seen to it that he has entered into his heritage and
knows himself to be a child of God ?

Are the communication with God which we call

^If each member of the class tries to express this aim, it
will help not only to clarify her own thought, but will assist
the entire class to get a vision of the ideal aim. These state-
ments will no doubt arouse a discussion quite unlike that sug-
gested here.

[33]

LESSONS FOR TEACHERS OF BEGINNERS

prayer, and the love we term devotion, and the thanks-
giving we name worship — are even these enough? Give
me freely your ideas on the subject. I believe a little
child needs besides the consciousness that he is a child of
God the desire to act as befits God's child. He should
love God and also love the good. His worship should
consist of service, as well as of prayer and praise. To
''interpret his surroundings religiously" means more than
to see God behind the material things about him. It
means also to be Godlike in each daily act. "Whether
therefore ye eat, or drink, or whatsoever ye do, do all to
the glory of God" is an important part of a little child's
religion.

What Are Religious Activities

Suppose we again consider some of the little child's
prominent characteristics, and see how they indicate his
need and capacity for this so-called "practical religion."

In the first place, what should you say his active nature
demanded of his religion? One can imagine a hermit or
a pain-worn saint finding cheer and comfort in a purely
comtemplative religion. How about an active child?
Doesn't this very activity necessitate service? Somebody
has said, "Is it true that there is nothing after disease,
indigence, and a sense of guilt so fatal to health and to
life itself as the want of a proper outlet for active facul-
ties?" Let us guard and guide the natural, God-given
activity of our children, for in it is the germ of the re-
ligion of Christ, preeminently the religion of service.

And service is meant in its very broadest sense. We
wish our children to feel that life is not divided sharply
into the secular and the divine, but that it is all one, and

[34]

A LITTLE CHILD'S RELIGION

every act is religious. We shall thus be building up a
generation of men and women who will consider not
only attending church a religious duty but attending to
their diet, and who will feel that service should be ren-
dered God, not one, but seven days a week.

To take up this matter very practically, will you discuss
the following questions: Which have you found more
effective in controlling children's activities, the command
"do" or "do not"? What legitimate physical activity in
the Beginners' Department will prevent annoying activ-
ity? Do you think Froebel's great principle of learning
through doing important? Do little children enjoy help-
ing their mothers? What may be the effect of ignoring
or refusing their offers of assistance? Can love for God
be made an incentive for right daily acts?

Guiding Natural Instincts

A child's mind is as active as his body. In the last
lesson we spoke of the danger in leaving serious questions
unanswered. Suppose we have fulfilled our duty in re-
gard to our children's curiosity, have we any duty toward
the instincts of imitation and imagination? As through
his physical activity he finds the road of service, so through
his mental activity he gains knowledge, and also, by
means of imitation and imagination he gets — what?
Through imitation I think he acquires a sense of other
people's natures and activities, and through imagination
he is able to put himself in their places. By fancying
himself in some as yet unexperienced circumstances, he
also forms ideals of conduct.

Recognizing this inherent quality of imitation, shall
we fight it, or leave k alone, or guide it? Drummond

[35]

LESSONS FOR TEACHERS OF BEGINNERS

asks, "Is corn to grow by method and character by ca-
price?" How would one's attempt to guide children's
power of imitation influence the sort of things we let
them see? hear? the stories we tell them? our own
actions? Will it enter at all into our reason for telling
them about Jesus? Will their impressionable senses
make care necessary?

Can we in a similar way help the imagination to do
its full work upon our children's characters? How will
our stories cultivate it? Does imagination help to make
hardships bearable? What effect do imaginary plays
have upon our children? I have seen in a tiny
girl's face the dawn of the maternal feeling, as she
rocked her doll to sleep; I have seen a little boy knight
possessing for the time being real knightly qualities; and
n child cannot enter fully into the impersonation of a
bird without gaining something in tenderness toward bird
life.

Arousing Desire Througli Love

Thus the proper outlet of his activities, both physical
and mental, gradually lead a child away from absorption
in himself to interest in and service for others. Wc
appreciate that it was an absolute necessity for him to
begin life with his own physical needs foremost, but
surely our ultimate ideal for him is the Christ ideal of
self -sacrifice.

This very interest In others may lead to manifestations
of the unrestrained anger we have discussed. But If a
little boy shows hot resentment at injustice to his brother,
shall we decry the feeling? And does not the newly

[36]

A LITTLE CHILD'S RELIGION

aroused interest in others coupled with the desire to
please them lead to obedience and self-control?

In short, we must consider carefully the child's natural
characteristics to help him be most completely a child
of God. And the guiding star to our goal is the little
child's love. For "What we make our children love
and desire is more important than what we make them
learn."

Just as we present God as a loving Father, who cares
for little children, and thus induce their love and wish
to please him, so would we present goodness as something
altogether desirable, for, though we may otherwise arbi-
trarily exact certain acts, we have not prepared them to
face life. Not that we do not expect they must often
perform hard duties, but I believe there must be the in-
centive of loving desire to insure a permanent growth
toward goodness.

As their little acts of helpfulness lead them into the
lives of others, sympathy will be aroused, and they will
begin their first tiny self-sacrifices impelled by the great
dynamo, love — love of God, and the wish to cooperate
with him in caring for flowers and birds ; love of parents,
and the desire to please them by carrying out their wishes ;
love of neighbors, and thus the birth of the missionary
spirit, which in its essence is helping those in need.

Nor, in taking account of a child's natural character-
istics in helping him to live his life religiously, must we
fail to consider his individuality. Thus one child needs
much help toward self-control, another toward unselfish-
ness, a third toward good-temper. We need to make
obedience seem very desirable to one child and generosity
to another.

[37]

LESSONS FOR TEACHERS OF BEGINNERS

The Result

In Maeterlinck's remarkable play, "The Bluebird,"
two children go on a quest for happiness, typified by the
bluebird. After a fruitless search for it in the land of
memory, the region of the dead, the realm of night, and
the land of the yet unborn, they finally return to their
humble cottage, and find, as they lend their pet bird to
a neighbor's sick child, that it is the bluebird, and to their
amazed delight discover happiness in their own home.
They find a new meaning in the fire that warms them,
the water they drink, the milk, the sugar, the common
loaf, all of which were personified on their journey.

If we succeed in interpreting our little children's sur-
roundings religiously, they will find happiness in their lives
as they are, and a wonderful meaning in their every-day
blessings, and as they use these common things in the serv-
ice of others, they, too, will have captured the bluebird.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Write a review of ''Love and Law in Child Training,"
by Emilie Poulsson, pages 83-89, or "A Study of Child Nature,"
by Elizabeth Harrison, chapter I.

2. Describe some efficient methods of directing the activities
of children in Sunday school.

^ 3. Report "A Study of Child Nature," by Elizabeth Har-
rison, chapter on "The Instinct of Imitation."

4. Explain how certain imaginative plays affect children's
characters, and how play is used in the kindergarten.

5. Do you agree with George Hodges, in "The Training
of Children in Religion," chapter I?

6. Give your ideas on systematic plans for every-day re-
ligious activities. See "The Child and His Religion," by
George E. Dawson, pages 117 and 118.

[38]

LESSON VII

A Little Child's Lessons

I fed you with milk, not with meat; for ye were not
yet able to bear it. — Paul the Apostle

The Ideal Curriculum

"What" is a far easier question to answer than "how."
Having decided what a little child's religion ought to be,
the problem is how to be sure that he has it. Shall we
depend only upon answering his thoughtful questions?
Most of us find that such questions are asked more often
in the home than at Sunday school. Can we be sure of
his parents' helpful answers? Even where there is care-
ful home training in religion, is there the same advantage
in little children from many homes meeting together in
a Beginners' class, that there is in their attending day
kindergarten ?

If there is a Beginners' department, it seems safe to
say that a definite curriculum is necessary, that the teach-
ing may most effectively meet the children's needs, and
also that such a curriculum must be elastic enough to be
adapted to local conditions.

In deciding upon a course of lessons for little children,
we should be certain first that it is founded upon sound
principles. What do you think of a course frankly in-
tended to be a study of the Bible? the learning of a cate-

[39]

LESSONS FOR TEACHERS OF BEGINNERS

chism that sets forth certain theological doctrines?
What should be the basis of such a course? It certainly
should be based upon the child's needs, and aim to give
him the religion he is instinctively groping after.

Have little children any sense of time? Does this
form any objection to a chronological course? Should
the lessons be concrete or abstract? If the course con-
sists of stories, and these stories are not arranged chron-
ologically, should there be any sequence? Should the
stories be entirely from the Bible; may Bible passages be
simply the basis for stories, such as nature stories; or do
5'OU feel that the child's needs occasionally demand a story
quite outside the Bible? Do you, then, all agree that the
ideal curriculum for little children is a topical story
course, based upon a child's needs?

Examination of Different Courses

I wonder how many of the class have examined other
courses of lessons than the one they are using. Have any
of you attempted to outline a course, embodying the prin-
ciples you believe in? Both these things are helpful. A
critical examination of various lesson courses leads one to
adopt the best, although it may be with modifications, and
gives one breadth and independence of judgment. The en-
deavor to outline an original course clarifies one's own
ideas, and makes criticism of existing courses more dis-
criminating and the critic better aware of the difficulties
in the way.

Among the Beginners' courses worthy consideration are
the following: Kindergarten Course of Study from "An
Outline of a Bible-School Curriculum," by George Wil-
liam Pease; "One Year of Sunday-school Lessons for

[40]

A LITTLE CHILD'S LESSONS

Young Children," by Florence U. Palmer; "Bible Les-
sons for Little Beginners," by Margaret J. Cushman
Haven. It is suggested that the courses themselves be
first examined, rather than any development of them.

The International Beginners' Course

The Beginners' Course of the International Graded
Lessons is considered here, as one of the latest series of
lessons for children of four and five years. It is a topical
story course, covering tw^o years. The second year is
not advanced in grade over the first, for with such young
children it is considered unw^ise to use tw^o sets of lessons,
as the same thought needs to be carried through the entire
hour.

Let us examine first the list of themes taken up, to see
if they give the little child the right sort of religion.'

Themes for the First Year:
I. The Heavenly Father's Care.
II. Thanksgiving for Care.

III. Thanksgiving for God's Best Gift.

IV. Love Shown Through Care.
V. The Loving Care of Jesus.

VI. God's Care of Life.

VII. Our Part in the Care of Flowers and Birds.
VIII. Duty of Loving Obedience.

IX. Love Shown by Prayer and Praise.
X. Love Shown by Kindness (to Those in the Fam-
ily Circle).

^It is suggested that the teacher of the class write the themes
on the blackboard, those for the two years in opposite columns,
one theme at a time, so that the sequence can be anticipated or
another suggested by the members.

[41]

LESSONS FOR TEACHERS OF BEGINNERS

XL Love Shown by Kindness (to Those Outside the
Family).

Themes for the Second Year:
XIL Our Heavenly Father's Protection.
XHL Thanksgiving for Protection.
XIV. Thanksgiving for God's Best Gift.
XV. Our Heavenly Father's Protection in Nature.
XVI. God Helping to Protect.
XVII. Jesus the Helper and Saviour.
XVIII. Jesus Teaching to Pray.
XIX. God's Gift of Life.
XX. God's Gift of the Wind, Sun and Rain.
XXI. Jesus Teaching How to Help.
XXII. Children Helping.
XXIH. Friendly Helpers.
Instances of

1. Individual help.

2. Interchange of help.

3. Cooperation in helpfulness.

Fall and Winter Themes

The course begins in October, and the first six or seven
weeks of each year are covered by the subject of the
heavenly Father's care and protection, approached through
parental care. Is this something close to the child?
Froebel says, "This feeling of community, first uniting
the child with mother, father, brothers and sisters, and
resting on a higher spiritual unity to which later on is
added the unmistakable discovery that father, mother,
brothers, sisters, human beings in general, feel and know
themselves to be in community and unity with a higher

[42]

A LITTLE CHILD'S LESSONS

principle — with humanity, with God ... is the very first
germ of all true religious spirit, of all genuine yearning
for unhindered unification with the eternal, with God."

What effect will the consciousness of a protecting and
care-taking Father have upon a child's fears? his sense of
helplessness? his wonder? Under this theme are stories
of parental care and God's care in nature. Do you think
it increases a child's sense of God's loving-kindness to
know that he provides for beast and bird and blossom p.s
well as for him?

At this time the Thanksgiving festival draws near.
Are Thanksgiving and Christmas of importance in a
child's year? Will lessons on God's care prepare him
in any measure for Thanksgiving? What will be his
natural response to the realization of God's wonderful
care? What, then, will logically be the next theme?
Would ''Thanksgiving for Care (or Protection)" mean
that thanks are to be forced from the child? Is this
possible? Of what does a little child's gratitude consist?
Might love and gladness be a better term?

Christmas, another great festival, comes soon after
Thanksgiving. Do you think it is possible for a little child
to regard the baby Jesus as a gift of the same Father who
has given other blessings? Does the topic, "Thanksgiv-
ing for God's best Gift," seem appropriate for the Christ-
mas season?

After this theme comes in the first year, "Love Shown
through Care," and in the second year the two themes,
"Our Heavenly Father's Protection" and "God Helping
to Protect." Here the impression of God's care is
deepened, and that care in the world of nature particu-
larly emphasized. The child is given a glimpse of his own

[43]

LESSONS FOR TEACHERS OF BEGINNERS

responsibility in giving care, and helped to feel the joy of
cooperating with God. Do j^ou think that this sense of
cooperation may give a child a feeling of over-importance,
or will it be an incentive to helpfulness?

lessons about Jesus

Is it enough to tell the children the Christmas stories,
and let them know only of the baby Jesus? If you tell
about the man Jesus, is there danger that they may con-
fuse him with the Father? Do you care if they do?
What special phase of Jesus' nature will appeal to them
and fit in with the general themes of the lessons? Can-
not Jesus become their ideal of a man who protects and
cares for others? Do you think that while his power
and teaching can mean little or nothing to them, his kind-
ness and love for the small and weak may win their real
love? I believe that even such little children can truly
say, **I love Jesus." I believe it is possible for them to
so catch the Christ spirit from the stories they hear of
him, that they are really Christians, as far as it lies within
a child's power to be.

After these lessons on "The Loving Care of Jesus"
and "Jesus the Helper and Saviour" comes the third great
festival — Easter. What should Easter mean to little
children? Ought they to hear of Christ's death and
resurrection? What do you think of this as a theme for
the Easter season — "God's Care of Life," covering the
awakening of life in nature, and the preservation of life
not only on earth but in heaven? Would such a theme
tend to counteract the fear of death many children have,
or is it better never to refer to death ?

Spring is a season when the outdoor world is especially

[44]

A LITTLE CHILD'S LESSONS

appealing to a child. Do you wish your children to sec
the Creator behind the springtime wonders? What na-
ture subjects are appropriate to this season? The spring
themes suggested in this course are "God's Gift of the
Wind, Sun, and Rain," and "Our Part in the Care of
Flowers and Birds."

Praying and Doing

Do you believe children ought to be taught anything
about prayer, or is it enough simply to teach them to
pray? Will it help them to become worshipful to hear
stories of people who pray? Besides stories that bring
in prayer incidentally, the course has the themes, "Love
Shown by Prayer and Praise" and "Jesus Teaching to
Pray."

This seems to me the logical place in the course for tak-
ing up as topics some of the virtues possible to childhood.
For why should our children know of God's love, if not
to help them to be Godlike? The consciousness of a
world for which God cares, and in which Jesus served,
should inspire them to do their part.

What good qualities should you choose to group stories
about? Is obedience necessary and possible to childhood?
kindness? helpfulness? You will look in vain in this
course for missionary themes — that is, studies of mission-
ary enterprise in other lands. But isn't the essence of
the missionary spirit the desire to help those weaker and
more needy? And are not the first steps toward a child's
interest in people all over the world the interest
and love for the members of his family and
neighborhood, shown in little deeds of helpfulness?
You may be asked by those zealous in the temperance

[45]

LESSONS FOR TEACHERS OF BEGINNERS

cause whether temperance teaching can begin too early,
and you can certainly answer that the foundation of a
temperate life is self-control learned through obedience.
Thus each year of this course of lessons ends with the
endeavor to help little children to be good in their own
childlike way.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Name the necessary qualifications for an ideal Beginners*
course of lessons.

2. Report on some other Beginners' curriculum than that
discussed here.

3. Give your opinion as to whether the themes of the Inter-
national Beginners' Course give the little child the religion he
needs.

4. Consider carefully a group of stories in this course, and
be ready next week to comment upon their desirability.^

5. Make a list of the Bible verses for the children, and tell
whether you consider them within their comprehension.

6. Count the stories retold, and state whether they seem
to you too few or too many.

* Prospectuses of the International Beginners' Course, con-
taining full lesson material, will be sent from the publishers on
request.

[46]

LESSON VIII

The Value of the Story

The child's thirst for stories — has it no siffnificancgj
and does it not lay a responsibility upon usf — Walter L,
Hervey

Teaching Through the Story

Obviously lessons for children cannot consist only of
themes, however necessary of presentation these themes
may be. Suppose you had only an outline course of
topics, how^ w^ould you set to work to teach?
Would you talk about the subjects — God's Care, Thanks-
giving, Obedience and the rest? Would you attempt to
define them? Perhaps you would deliver sermonettes?
or teach Bible verses clarifying them? Must you have
some lesson material under these topics, and if so, what
form would this material naturally take?

For instance, choose among the following statements
the one you feel would best introduce the subject of
obedience.

Every child ought to obey his father and mother.

To obey anybody is to do exactly as. he says.

My child, obey your dear parents.

"Children, obey your parents."

I have a story to tell you of a baby rabbit that did not
mind his mother, and what happened.

[47]

LESSONS FOR TEACHERS OF BEGINNERS

Why is it that the last method is the most effective?
I should like each member of the class to give one reason
why the story is a valuable educational agency for little
children/

Choosing the Story

If we are to use stories for the religious education of
children, w^hat kind shall we choose? Is there any
requisite source for such stories? any necessary qualifica-
tions? Certainly they are told because of the truth in
them — for the sake of the message they convey.
Must these stories, therefore, be true, in the sense that
they are the relation of facts? Can you see how truth
may be conveyed by means of a tale not literally true?
Do you see a difference between fact and truth? How
do the parables of Jesus illustrate such a use of stories?

The stories we select may present the required truth
and still be inappropriate, unless they are adapted to the
age of the children. If we like to talk learnedly, we say
they must be "on the child's plane," which means simply
— what? That any story, in order to fulfil its mission,
must be within the child's understanding. It must deal
either with situations he has experienced or which he is
capable of imagining. Its message must not only be a
message suitable for a child, but told in child language
in a child's way, so that a child will respond.

Proof of Its Value

In that word "respond" we find the actual test of the
value of the story. Exactly what do we mean by the

* These answers will determine the succeeding discussion.

[48]

THE VALUE OF THE STORY

child's response? Is it his absorbed attention? Do you
regard his bated breath, intense gaze and tense absorption
a certain proof that the story you have told has value?
Can you conceive of an absolutely valueless story holding
the attention? Give a possible instance.

Is the proof of a story's value to be found in the facility
with v^^hich the child retells it? May he, by any chance,
remember and reproduce a totally valueless tale? On
the other hand, does any story perform its function which
neither arouses interest nor makes an impression that is
retained? Might a story of unquestionable worth be
reproduced in a way to show that it had failed to bring
its message to the child? For example, suppose you told
a story to illustrate obedience, and the child retold it in
detail, but very apparently failed to grasp the point, might
the story be considered a failure ? Would not a retelling,
with the point well brought out, be a proof that the story
had delivered its message to the child?

We must remember, however, that many little children
have neither the vocabulary nor the confidence to repro-
duce a story, and so their response cannot be judged in
this way. Do you find the expressed response common?
No teacher need feel in the least discouraged at the in-
frequency of quotable responses from little children,
whose power of expression is undeveloped, and whose feel-
ing is more apt to show itself in wondering eyes and facial
expression than in words. A little child's response may
more often be felt than heard. Have your children made
any comments after bewaring a story that have led you
to believe it had reached its mark ? A delightful response
to a story is a child's request for a song embodying his
feeling and occasionally the suggestion of a prayer.

[49]

LESSONS FOR TEACHERS OF BEGINNERS

The Little Child's Response

Some interesting responses to certain stories arc the
following: —

A little girl, telling about Jacob's dream, said, in an
indescribably tender voice, "The heavenly Father said,
'Don't you be afraid, Jacob; I'm keeping care of you.
Don't you be afraid; I'm keeping care.' "

After telling the storj', "Jesus Loving Little Children,"
a teacher said, "We cannot put our arms about Jesus'
neck or feel his hand upon our heads, as those long-ago
children did, but we can speak to him, and we will now."
A little girl suggested softly, "We might make believe
put our arms round his neck while we do." The prayer
that followed was a very real one.

A young teacher had finished telling the story of "Jesus
and the Blind Man." How she told it may be guessed
from the comment of one of the children, — "I think the
dogs must have been running around the streets looking
for Jesus, he was so kind."

After the story, "Joseph's Coat of Many Colors," as
the children gathered about the picture, one little boy
put his arm about his younger brother and said, "I'd
never, never be so mean to my brother. I never, never
would." This was a spontaneous response to a negative
lesson.

The Analysis of Stories

For the remainder of the time let us consider some
particular stories of the International Beginners' Course
that you have been studying, as to their value in the reli-
gious education of young children.

Suppose we begin with the first group of

[50]

THE VALUE OF THE STORY

stories, under the theme, "The Heavenly Father's Care."
The first story emphasizes parental care, the second
parental care in nature, the third the great necessity of
divine care, in order that parental care be possible among
birds or animals, and the remaining stories bring out the
important part that the heavenly Father plays in human
affairs. Exactly what phase of God's care does each one
of these stories present?'

Again, let us take up each story from the standpoint of
its source. Five out of the seven stories are from the
Bible, the casual observer would say, and the other two
are not. It should be noted, however, that these so-
called nature stories are founded upon Bible verses, and
serve to make their meaning concrete, and also that the
child is continually demanding such nature stories by his
questionings. Discuss your conviction in regard to the
importance of nature stories, and also your feeling about
the value of stories from the Bible.

Let us also take up these stories from the point of view
of their appropriateness to the child. Test each story in
these ways: —

Does it teach a truth that meets a child's religious
need? State the truth.

Does it teach this truth simply and directly?

Does it deal with situations wn'thin the child's experi-
ence? If not, with those he can readily imagine?

Is there action enough to arouse interest? Is this ac-
tion involved in too much detail?

For example, take the story of the baby Moses. What

^In the "Beginners' Teachers' Text-Book" each theme and
its illustrating stories are carefully discussed. It is far better,
however, for the class to form their own opinion before reading
those discussions, and then frankly compare the two.

[51]

LESSONS FOR TEACHERS OF BEGINNERS

truth does it teach? Is this truth necessary for a child's
highest development? Does it teach this so obviously
that the child cannot escape it? Might similar experi-
ences occur in the child's life? Does this prohibit the
story from the child's imagination? Does it particularly
matter whether the child knows just what a king is?
Why has this story always made a special appeal to chil-
dren. Is it simple? overburdened with detail? full of
action ?*

The Charm of the Familiar

After we have set our standard high, as to the kind of
stories we should choose for our children, we must not
fail to recognize the fact that it is the twice-told tale
which really appeals to a little child. If we give him his
choice as to what we shall tell him, it will almost inva-
riably be the familiar tale. "Tell it again," is his highest
praise. The charm of the well-known and well-beloved
is so alluring to him that only one very, very far from
childhood will provide the new to the exclusion of the old.
This fact will enable us to drop out the least worth while
among the stories we examine, and bring to him only the
best, but those over and over and over again.

P^or the value of the story lies not alone in its message,
in its appeal to childhood, or in its ability to touch a re-
sponsive chord, but also in its power to live through
repetition, to endure through familiarity. And one who
offers the fine gift of a story but once does not understand
the heart of a child, — only she who is eager to enjoy that
gift with him again and again and yet again.

*As many other stories may be taken up in like fashion as
time permits. Such analytical work is extremely helpful.

[52]

THE VALUE OF THE STORY

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. State your reasons for believing the story a valuable
leaching agency for little children.

2. Do you agree with Edward P. St. John's views, in
"Stories and Story-Telling," chapter on "The Story-Interests
of Childhood"?

3. Name the essential characteristics of a story suitable for
the religious education of children.

4. Give a concrete proof of the value of two particular
stories.

5. Review "Telling Bible Stories," by Louise Seymour
Houghton, chapter I, on "The Old Testament and the Child."

6. Analyze a favorite child's Bible story to find reasons for
its popularity, and tell how many times it might profitably
occur in a two-years' course.

[53]

LESSON IX

How TO Tell a Story
You must see what you say. — Sara Cone Bryant

A Story-Teller's Qualifications

It requires little argument to persuade teachers of the
value of stories in a child's religious education. Indeed,
it is delightful to feel that one is privileged to offer such
fascinating educational material — as alluring as inviting
children to a feast of sweets. Our teaching is made
easy because we have outgrown the old notion of draw-
ing a strict dividing line between the child's need and his
desire, and are learning to minister to his need through
his desire.

However, the appropriate and effective kind of story
may be decided upon, its style, length and appeal all
suitable to the child's capacity, and yet the teacher will be
left with a problem — how to tell it. For a poor story-
teller may spoil a good story, and, on the other hand,
"when you make the story your own and tell it, the
listener gets the story plus 3^our appreciation of it."

It is very common to hear one who tells stories well
called a "born story-teller." This is a peculiarly comfort-
ing appellation to a certain type of person, who insists
she was not born with this or that talent, when the truth
is that she was born lazy. Story-telling is, to be sure,
far easier to those who have a natural aptitude for it,

[54]

HOW TO TELL A STORY

but without time and labor this aptitude will not produce
a fine story-teller. It is also true that many a teacher
who feels that for her story-telling is an impossible art
may become very proficient if she is willing to devote
herself heartily to the task of learning how.

There are, however, some indispensible qualifications.
In the first place, a successful story-teller must know and
love her audience. For how can you interest children un-
less you are able to put yourselves in their places, and how
can you know them unless you possess the only key that
will unlock their hearts — the key of love? With these
two qualifications you are equipped to prepare yourselves
for your audience — an audience, by the way, eager and
expecting to be pleased, and disappointed if they are not.

Guides to Story-Telling

If, then, you have chosen an appropriate story for the
audience you know and love, how shall you tell it? In
the first place, as only those who know and love a story
can tell it. What child will hang on your words, when
you are uncertain over the outcome? If you cor-
rect yourselves or hesitate, the children's attention is
gone, for you have shown that the story is not your own
possession, and that therefore you cannot make a gift of
it. Your own appreciation of your tale is also a necessity,
if you would gain their appreciation.

The suggestions in regard to one's manner of telling
stories are so many and so diverse as to discourage and
bewilder a novice. "Never raise j^our voice ; be calm and
use no gestures," one advises. "Be animated and
dramatic; act out your story," say another. "Always
begin with a cheerful smile," pleads a third.

[55]

LESSONS FOR TEACHERS OF BEGINNERS

I advise you to cast all these recommendations to the
winds, and simply be yourselves. For, though a certain
type of teacher may hold her children w^ithout a single
gesture, with a quiet voice and scarcely changing expres-
sion, if another teacher, naturally more animated, should
endeavor to suppress herself, she w^ould meet with a
total loss of attention and interest. And it may as well
be acknowledged that the cheerful smile, when planned
for, is as much scorned by our keen little critics as any
other affectation. Be yourselves by forgetting yourselves.
Forget even your children, if you can, in your absorption
in your story. Then manner, voice, gestures and what
not will adjust themselves and take their proper places
as means to an end — that end making the gift of your
story.

That it be a worthy gift we have before stipulated,
which of course means that it must be told in language
that will not cheapen it — simple but good English. It
must be tricked out daintily, as a precious gift should be,
with fascinating repetitions so dear to a child's heart, and
with the moral pervading it instead of being tacked on in
unsightly fashion, or wrapped up so that it cannot be read-
ily found. Amateur story-tellers will win greatest success
by at first following closely well-constructed and well-
written stories, before venturing to adapt tales them-
selves.

Sara Cone Bryant discovered the secret of the real
story-teller when she said, "You must see what you sayf
She might have added, "You must feel what you say*'
This is the secret of the preacher, the lecturer, the actor.
Only as you live in your story can you give it to others.

This is more possible than the average person imagines.

[56]

HOW TO TELL A STORY

Confronted with a long story, it may seem a well-nigh
hopeless task to one unskilled. For this reason far less
discouraging to a beginner than to tell an entire story for
criticism is to try to make a single incident her own. If
you can make us see one object, you are obviously capable
of making us see a series of objects. If you can make us
experience one emotion, you can arouse within us others.
So I suggest several little experiments, as first steps in
story-telling, simply to test you, as to whether you
can make others see and feel what you say.

Story-Telling Tests

I want somebody to describe a tree so that I shall see
it grow. You have perfect freedom to do so in any way
you like. The point is to make me see the tree grow.^

Describe a giant to me, as if I were a child who
does not know the meaning of the w^ord. Make me
realize a giant's tallness and largeness.

Tell me about an animal, so that I shall have some
feeling toward it. Make me like it or hate it or fear it.
If you have no feeling in regard to the animal you de-
scribe, neither shall I. Unless you can inspire in me some
feeling toward it, j^ou have not made me see that animal.

Now, I want you to make me see a boy run down the
street. Would you use the dramatic method in this in-

*This has been done in such a class by a word-picture of
the gradual growth of an oak from an acorn — the descriptive
method; by kneeling down to represent a seed in the earth,
and raising the body gradually, imitating growth, till it is
erect, the arms stretched out for branches, the fingers^ fluttering
leaves — the dramatic method; rapid sketches of trees in various
stages of growth — the illustrative method. These methods,
however, should only be suggested as a last resort, the original
idea of the class being far better.

[57]

LESSONS FOR TEACHERS OF BEGINNERS

stance? The illustrative method? How will you do
it? Yes, you instinctively hurry your words, to give the
impression of swift motion. How, in a similar way,
would you tell about a boy walking very, very slowly?
What could you do to give your listeners a chance to stop,
mentally, and watch the boy run? Couldn't you say,
"He ran and he ran and he ran," or "Oh! how fast he
ran"?

Who can tell about the blowing of the wind, so that I
shall feel cold? If you cannot do this by description, see
if gestures or imitation of the sound of the wind will help.

Make me hear the rain falling. Describe the falling
of the rain so that I shall be glad.'

Tell about a child eating his dinner. What must you
do to make this vivid ? Your small listeners want details.
"A mother brought her child some good food" does not
give the picture that arises when you say, "A mother
brought her child a bowl of bread and milk and a red
apple."

Can you fill me with the joy of a bird's spring
song? If you cannot imitate the notes, can you tell me
how his little throat swells and how he seems to love
his song?

Describe a bear so that I shall realize its size. Tell me
that a lamb called to its mother. Would you say,
"It called and called" or "It bleated"? How can you
make the cry more vivid?

For the next lesson we will continue these tests of our

* The rain may be imitated by tapping one's chair or Imitat-
ing through the words, Fitter, Patter. An account of a
drought and the beneficial results of the rain that followed,
or of a little boy's delight that he can splash about in his rubber
boots will illustrate the next point

[58]

HOW TO TELL A STORY

power, and listen also to some entire stories told by volun-
teers for our criticism and help.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. What are the essential qualifications of a successful
story-teller?

2. Give your ideas about method and manner in story-
telling.

3. Make a list of the points in "How to Tell Stories to
Children," by Sara Cone Bryant, chapter IV.

4. State in a sentence what is the real secret of story-telling.

5. Speak of some tests used to make incidents vivid, and
analyze the methods employed.

6. Prepare a story to tell before the class for criticism.

[59]

LESSON X

Practise in Story-Telling

// you fail see luhy you fail, and then lay the foundation
for success. Listen to others that know how to do it.
Catch their points of effectiveness. Above all things,
practise, practise, practise! — Amos R. Wells

The Secret of the Art

Today we continue our practise in story-telling. It is
an art so fine that we cannot take too great pains to
perfect ourselves in it. And the reward of our labor is
satisfactory. It is found in the absorbed attention, the
wondering eyes, and the happy sighs of the children to
whom we tell our stories.

Some of you have come prepared to tell stories for our
criticism. Before you tell them I w^ant volunteers from
the class to try more of the simple tests for making pic-
tures vivid that I suggested last week. For remember,
"It is not the story in the lesson quarterly that you can
build into the lives of your child ; it is the story in you."

Marie Shedlock, a story-teller whose power of making
words live is remarkable, won the following comments
from a playground audience:

"Is she a fairy or a lady?" one child asked. "She made
me see fairies awful plain."

"I alwaj^s knew Pandora was a nice story," said another
child, "but she never seemed like a live girl before."

[60]

PRACTISE IN STORY-TELLING

Another admirer remarked, "I liked 'The Bramin,
the Jackal and the Tiger' best. Gee! but couldn't you
see the tiger pace when she was saying the words!"

"I love 'The Little Tin Soldier,' " said still another.
"Didn't she make him march fine?"

So you see how you have the oportunity of giving a
favorite old tale fresh attractiveness by your manner of
telling it.

Making Words live

Tell me that a little girl is sick so that I shall be sorry.
Vou may do so in a single sentence or more at length.
Do not try this until you feel just what it means for a
rosy-cheeked, chubby, play-loving child to suffer.

Tell me that a mother is tired, so that I shall long to
help her. Tell me what she has done to get tired, if you
like, or how the weariness affects her. What you must
do, if that tired mother is to mean anything to me, is to
arouse my sympathy.

Now I will ask for something harder. Describe the
shining of the sun, so that I shall feel glad. It is easier
for most people to inspire others with sadness than with
joy. By words, or drawings, or in any other way you
can think of, make me glad because God's sun is filling
the world with light and warmth.

Who can describe children playing, so that I shall feel
some of the pleasure they experience? Perhaps you can
even make me long to play.

Telling Bible Stories

Let us turn now to some of the Bible stories. I want
you to tell parts of these to me, as if I were a child. In

[6i]

LESSONS FOR TEACHERS OF BEGINNERS

order to tell me even a part of such a story so that I shall
see and feel it, you must get into touch with the charac-
ters, so that for you they live, and you must realize the in-
cidents you relate.

Think about the story of the flood, and picture to
yourselves the dreary days spent floating upon a vrorld of
water. Think what sunshine and the possibility of step-
ping upon the earth must have meant to Noah and his
family. Now I want somebody to say, "They came out
into the fresh, clean, bright, shining world." You need
not necessarily say these exact words. Turn the sentence
about, if it is more natural to you, or use other words to
give the idea — anything to make it your own ex-
pression. Only somehow you must make me feel what
Noah felt.

Think now of Jesus and the nobleman whose son was
sick. I want you to feel the tender sympathy Jesus felt,
when he saw the father's worried face, and heard him say,
"Come down before my child dies!" Tell me that Jesus
longed to help him, so that I may feel how much, how
very much, he longed to help.

I want you to think about Jacob, and how, at night,
far away from his home, he fell asleep, under the stars,
with a stone for a pillow. He had supposed himself
quite alone. I want you to say what God said to him in
a dream, so that I shall feel all that this profound truth
would mean to Jacob the rest of his life. I will write
the words on the board, — "I am with thee. I will not
leave thee."

Picture the disciples fishing in vain that night on the
sea. Tell me how they threw their nets over into the
water and pulled them in empty, again and again and yet

[62]

PRACTISE IN STORY-TFXLING

again. Would gesture be appropriate here? I have
known children to go through the motions spontaneously,
when retelling the story. How would you show that the
nets were at last full of fishes?

Now think of Mary, of her sweet modesty, her purity,
her goodness. Express the wonder she must have felt at
the promise that she should be the mother of the Saviour.
'*To think that this wonderful thing should happen to
me!"^

Telling Stories for Criticism

Is it necessary, in order to get the best results from a
story, to create a good atmosphere before telling it ? Are
such devices as these useful — to listen to find out whether
the clock is ticking; to go to sleep and wake up when I
say, "Once upon a time"; a few soft chords on the piano?

We will now hear the stories that you have prepared.
We will all listen without interruption, and give you our
undivided attention. At the close we will criticize each
story in the following ways.'

1. Is it a story worth telling?

2. What is its message?

3. Is this truth well brought out?

4. Is the story simple?

5. Is it within the children's comprehension?

6. Was it told as if it were well liked?

7. Was it perfectly known by the teller?

* Further illustrations may be used, if there is time.

' Even severe criticism need not be discouraging, if the good
as well as the bad points are noted, and if it is made for the
sake of improvement, and is not merely destructive.

[63]

LESSONS FOR TEACHERS OF BEGINNERS

8. What were the good points in the telling?

9. What were the bad points?
10. Discuss both.

Will anybody tell us one of the stories already told,
or another, as if we w^re children who know little
English? How will this influence your choice of words?
your method? Shall you be more dramatic? May a
gesture sometimes explain a word?

Next week I want you to come prepared to tell Bible
or nature stories, such as one would use in Sunday school.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Suggest some original tests for making words live.

2. Suggest parts of Bible stories for practise in vivid story-
telling.

3. By what means can a good atmosphere for story-telling
be created?

4. Write out what you consider your own strong and weak
points as a story-teller.

5. How many opportunities have you had this week to tell
stories to children? Might you have made more?

6. Prepare a Bible or nature story to tell next week for
criticism.

[64]

LESSON XI

Building the Program — ^The Story Period

Let all things be done decently and in order. — Paul
the Apostle

One Essential

Is a program necessary, If we are to make the best use
of our Sunday-school hour, or will it curb the child's
liberty too much and destroy spontaneous sequence of
thought? Will it, on the other hand, tend to give em-
phasis to the most important things? If we are to have
a program, must it be elastic? Certainly otherwise it
will be a hindrance rather than a help.

I want you to put out of you minds any preconceived
ideas you may have of the program for a Beginners' ses-
sion, so that we may discuss it in a fresh and unpreju-
diced fashion. Even in such a mechanical matter as the
program, let us keep close to the little child's needs.
These needs should determine the program, instead of
the program being adapted to the child's needs.

We have already decided upon certain religious truths
that are necessary to little children. We are convinced
that the only way of bringing these truths before them
with any certainty is to arrange them in logical sequence,
and to illustrate them with suitable story material, thus
forming a curriculum. This, of course, means that each

[65]

LESSONS FOR TEACHERS OF BEGINNERS

Sunday there Is a certain theme to be impressed througli
a new story or a group of old stories. There must, then,
be a place reserved in the program for — what? Ob-
viously, for telling the story. Let us write that down as a
very necessary part of our program.

Before the Story

Will telling the story mean only that? May it occa-
sionally be necessary to explain some words or references
in the story before telling it, so that it need not be inter-
rupted ? Can you think of a possible instance ?

Suppose your story is about sheep, and you know that
some of your children have never seen a sheep, either pic-
tured or in real life. Will you begin your story, and,
when the time comes for the sheep to enter, forsake the
role of storj^-teller for that of instructor, and let your
characters defer action while you explain what manner
of animal a sheep is?

Ought large words to be made clear beforehand?
Why not? Might anything else be done before the story,
to make It more effective? Is it Important that anticipa-
tion be aroused? Is it usually sufficient to announce
that you will tell a story? Is the attention attracted by
the words, *'Once upon a time,'' or ''Long, long ago"?
Suppose you have a new story about a favorite character,
such as David. Will It add any to the Interest to say,
"I will tell you another story about David"? Will it
be likely to arouse interest in the children to hear that you
are to tell them about the baby Moses when he was
grown up, or about the little Lord Jesus after he had be-
come a man?

The stories are told to illustrate certain truths, and

[66]

THE STORY PERIOD

they have failed of their purpose if these truths are not
made very plain. Will a child be any more apt to see
a truth in a story if, before hearing it, he has talked a
little about that truth ? For instance, if the story is told
to illustrate obedience, the children's ideas on obedience
may be drawn out before it is told. If the thought to be
emphasized is children's helpfulness, a few questions may
be asked about the ways in which the children help at
home. Suggest possible approaches of this sort to some
of the stories we use in Sunday school. Do you care to
discuss the efficiency of the method?

Let us remember this — that each story should be judged
as a unit, and its special treatment decided upon. We
are far too liable to become stereotyped and mechanical
and to overwork any method, no matter how good.

After the Story

What can we do after the story that will intensify its
message? For this is our great need. Will this be ac-
complished if the children retell it directly after listen-
ing to it? If they express the ideas received by means
of some simple hand-work? If the teacher reiterates the
truth, applying it to the child's life, urging him to
obedience, helpfulness or what not?

It seems to me that the immediate and necessarily crude
retelling of the story by the children, whether through
lips or fingers, takes away from the impression we make,
and we must never forget that our teaching is "not for
imparting facts but for the culture of feeling." The
process so aptly called "rubbing it in" we all know from
experience defeats its aim.

What, then, remains — simply dismissal? Is there any

[67]

LESSONS FOR TEACHERS OF BEGINNERS

beautiful expression of the story's truth that might be
made at this time? How about the repetition of a
Bible verse? a song? a prayer? May the children be al-
lowed the opportunity to make natural responses? Will
the examination of the story picture interfere with or
stimulate this free expression?

Let us write down, as a very necessary part of our pro-
gram, The Story Period, dividing it into a possible
Approach, the Story Proper, and the brief space follow-
ing, which may be termed After the Story.

How long do you think one can possibly hold the
attention of a Beginners' class for a story? What is the
shortest length of time necessary for telling a story?
Calling eight minutes the longest time that one will at-
tempt to hold the children's attention, and three minutes
the shortest length of time required for a tale, allowing
for a possible approach and a few moments for strength-
ening the feeling at the close, is not fifteen minutes a fair
length for the story period? And we have agreed that
this should come at the end of the hour.

The Children's Part

Now have we, in these fifteen minutes, given all the
time necessary to the story? Have we three-quarters of
an hour left for the rest of the program — for prayer, song,
Bible verse, and the other parts we consider essential?
Will fifteen minutes a Sunday adequately "do" the story,
so that it need never be mentioned again? Visit the
nursery and see how it is there. Is one recital of "The
Three Bears" enough? two? three? Do the children
ever tell it or join in the telling? Do they refer to
the story? act it out?

[68]

THE STORY PERIOD

Certainly we want the stories we tell in Sunday school
to be as well-beloved as nursery tales. We have sug-
gested that some stories occur more than once in the
course, and that occasionally there be a choice
among several old tales. We must also give the children
an opportunity to talk about the stories, to tell them to
us, to think of the characters as real friends, to refer to
the incidents as well-known events.

We have already decided that we cannot wisely request
them to retell the story directly after we have told it.
We shall, then, have to reserve a place for this review
somewhere before the story period of the following week.
Let us consider exactly what we are going to do with
the old story. Shall we look upon it in the light of a
lesson to be perfectly recited? If we do, we shall be
sadly disappointed, for at four and five the vocabulary
is limited, and the power of continuous expression usually
small, although now and then a child is able to tell an
entire story alone. We can expect at best disjointed
sentences. The whole plot of the story may be condensed
by a child in a few words.

What we want is vivid interest in the old story. Is
a good way of securing this interest to ask, "What was
our last story about?" Does it make a happier beginning
to say, "Whom was our last story about?" The names of
Bible characters are often unusual and difficult for chil-
dren to remember. Might a child have an excellent knowl-
edge of the story and yet not be able to pronounce the
hero's name? Tell me some ways of introducing the re-
view story that will insure interest. Showing the picture
will awaken memories of the story in nearly every child.
Another very popular method is to begin the story exactly

[69]

LESSONS FOR TEACHERS OF BEGINNERS

as you did at the first telling, and stop every now and
then for the children to go on. They will take the sen-
tences out of your mouth. Sometimes there will be a
chorus of little voices. The interest will be even
more intense than that at the first hearing.

Would you ever act out a story in Sunday school? Do
you think the possibility of doing so depends largely upon
the kind of story? Would you care to act out an episode
in Christ's life? On the other hand, would such a story
as "Ruth in the Barley Field" lend itself very readily to
this method of reproduction?

Do you ever hear of your children spontaneously acting
out their Sunday-school stories at home? The story of
baby Moses was played in one home, the clothes-basket
being pressed into service. A minister's small daughter
was so impressed by the story of the good Samaritan that
she insisted upon playing it at home again and again, the
father nobly consenting to take the part of the donkey!
A mother hastened to the nursery at the sound of cries,
and found her little son pummeling his baby sister. "She
is the lion that's getting my lamb; I'm David," he ex-
plained. When the mother suggested that the sister fig-
ure as the lamb and a chair represent the lion, the boy
was perfectly content, his only wish being to make real
his favorite story. These instances simply illustrate the
natural tendency of children to dramatize a story that
has taken hold of them.

The conclusion of the whole matter is this — that if
the story is to effectively bring its message to the child,
it must not only be told vividly, but approached wisely,
followed up sympathetically, and reviewed in a way that
will heighten the interest.

[70]

THE STORY PERIOD

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Give your reasons for and against making a program,
and indicate the characteristics of a program which will not
hinder spontaneity.

2. Choose three stories used in the International Beginners'
Course, and give what you consider poor methods of approach
to these stories.

3. Give your ideas as to wise methods of approach to these
same stories.

4. Write out ways of filling the few moments following
these stories that you think tend to detract from the eflfect pro-
duced.

5. Suggest eflFective ways of filling this time.

6. Give general plans for the interesting review of stories,
and mention those you believe most applicable to the three
stories already considered.

[71]

LESSON XII

Building the Program — The Circle Talk

Self-expression is at once the motive and the method
of all culture.— Milton S. Littlefield

What It Is

Did you ever witness, or better, participate in a public
kindergarten "morning talk"? Of what does it consist?
Give me your impression of this part of the kindergarten
program. Do you think something similar fills a
need in the Sunday-school hour? It certainly seems im-
portant that we set apart a period for the free interchange
of thought, when the children may have an opportunity
to express themselves spontaneously and informally.

However, in spite of the importance of the children's
free self-expression, isn't there also an opportunity, in-
deed, a necessity for instruction on the part of the teacher?
Surely the educational ideal is a happy combination of
self-expression and instruction. This instruction means
something entirely foreign to a laborious impartation of
facts or a dry drill on words. It means assisting, building
upon and interpreting the child's spontaneous self-expres-
sion. Froebel meant this when he made the revolu-
tionary statement, noted in a previous lesson, — "Educa-
tion and instruction should from the very first be passive,
observant, protective, rather than prescribing, determin-

[72]

THE CIRCLE TALK

ing, interfering." Madame Montessorl, the modern
Italian educator, has this original conception of a teacher —
that she is not the dictator but the observer, not the leader
but the follower. She must be trained to note sympa-
thetically the children's spontaneous acts, not to interfere
unless these are injurious to others, but to be always on
the alert to suggest and assist in carrying out ideas.

This ideal, somewhat modified, should be maintained In
the circle talk. Questions are to be answered, remarks
commented upon and related to the theme under consid-
eration, activities not forbidden but regulated, new knowl-
edge made merely the outgrowth of old. So shall we be
developing rather than forcing our children.

Story and Song

Suppose we consider the component parts of the circle
talk, and place them under the two headings Instruction
and Self-Expression/

Now that we have a good number of possibilities for
our circle talk, we must consider whether our placing has
been wise. The review of the last story is properly
placed under Self-Expression, as the child's relation of it is
obviously that. The only opportunity for instruction is
when a wrong idea has been gained by the child, as in the
case of a little girl for whom the Ingredients of Elijah's
cake were meal and kerosene, or the child who insisted
that Moses was hidden by his mother "in a clothes-press."

As to songs, of course there rnust be instruction, if the

'These parts should be mentioned by the class and placed
in the columns in which they decide they belong. Discussion
may cause them to be placed in both columns or transferred
from one to the other. The above discussion is of course
merely suggestive.

[73]

LESSONS FOR TEACHERS OF BEGINNERS

child is to be able to sing them at all. A song cannot be
developed from his inner consciousness. It is something
to be learned and so requires teaching. However, isn't
the ultimate function of a song self-expression? And
whether it can ever become self-expression depends largely
upon the manner in which it is taught. Suppose we illus-
trate by three methods of teaching Stevenson's classic
couplet — a verse ideally suited to little children, both in
thought and expression.

"The world is so full of a number of things,
I'm sure we should all be as happy as kings."

The first method proceeds something as follows :

"Now, children, we are to learn a new song, and I
want you to pay attention. You must learn to sing it
well, so that when your fathers and mothers come to
visit, I shall not be ashamed of you. Listen and say the
words after me.

" 'The world is so full of a number of things.'

"The little boys may say it alone — the little girls — the
five-year-old-children — the four-year-old-children — all to-
gether. I will say the second line very, very plainly.
You may try it — again — again. Now both lines. You
know the words pretty well, so I will teach you the tune."
After which the children are drilled on the music in like
fashion.

This may be termed the drill method. The children
are trained to perform. Would it be possible for a
song learned in this way to become self-expression?

A second method, the explanatory, is largely a reaction
from the first. In an attempt to avoid thoughtless drill
the teacher starts out with the determination to leave
no word meaningless, and thus the song is taught:

[74]

THE CIRCLE TALK

"Dear children, do 5^ou know what the world is? It is
the round ball upon which we live. The world is full
of all sorts of things for us. Did you ever drink from a
glass that had only a few drops of water in it? That
glass was not full. When the water reaches up to the
very brim, the glass is full. Now the world is full — like
the full glass of water — of a number of things — not one
or two or three things, but a number." Thus the teacher
drones on, laboriously endeavoring to make clear the sim-
ple verse, trying to define happiness, as she teaches the
second line, and to give a clear picture of a king. We
might term this conscientious discursiveness.

In a third method the teacher escapes both Scylla and
Charj^bdis by avoiding undue drill and wearisome ex-
planation. This may be called the inspiring method, and
is certainly the one that will lead to self-expression.

"Let's think of all the things in the world that make
us happy," she begins; "bread and milk and apples and
v/arm coats and nice houses and — " letting the children
go on in detail, which is a child's delight. Then she says,
quite naturally, —

" The world is so full of a number of things,
I'm sure we should all be as happy as kings.'

"I'll sing about it, and while I sing, you may think of
all those things you told me about that the world is full
of to make you happy.

"I felt as happy as a king when I sang. Did I look so?
Sing it with me, and I shall know from your faces if you
are really and truly happy."

The simple words are easily caught, and the simple tune
has perhaps been made familiar for a Sunday or two, but
the main point is that the spirit of the song has been in-

[75]

LESSONS FOR TEACHERS OF BEGINNERS

fused into the children, so that it becomes an expression of
gladness, and connects itself naturally with their gifts,
with joyous events in their lives, with the pictures and
stories in Sunday school that tell of the loving care of the
heavenly Father. It will hereafter be suggested at ap-
propriate times by the children, not only in Sunday school
but at home.

For instance, one child of three, who saw for the first
time a picture of a child sitting in the midst of an array
of toys said, "Let's sing the song that belongs to it."

"But there is no song. This is a new picture," insisted
a dense grown-up.

"Oh, yes, there is,— 'The world is so full.' "

This is merely illustrative of the spirit in which a song
may be sympathetically taught. Less simple words need,
of course, some repetition, and totally foreign expressions
a slight explanation, but the method of instruction, to-
gether with the appropriate use, determines the possibility
of a song's real function — worship and praise and the nat-
ural expression of thought and feeling.

Bible Verses

Let us take up next the learning of Bible verses. They,
too, must be taught, but there is a world-wide difference
between their use as recitation and as expression of
thought. Again, the inadequate teacher demands the per-
fect recital of last Sunday's Bible verse, and praise follows
upon glibness, while the failure to have the words on the
ends of unaccustomed tongues wins disapproval. "Didn't
mother teach it to you? You are the only boy who
cannot say his verse!" the teacher remarks, and the folders
are given out with the stern injunction to learn the

[76]

THE CIRCLE TALK

verse thereon, the words of which are distinctly and
slowly read.

Suppose we watch our sympathetic teacher and see how
she treats the Bible verses. She has finished the story of
the cruel behavior of Joseph's brothers. '' 'Let us love one
another/ " she says softly. The following Sunday there is
a little conversation about the children's family relation-
ships. "Shall we say the little Bible verse that tells
how to keep a home happy?" she asks. " 'Let us love
one another.' " Then a finger family song is sung, and
quite naturally the verse again repeated — "Let us love
one another."

Or when the story is about God's care for birds and
animals, the teacher weaves in most naturally the verse,
"Your heavenly Father feedeth them." And what could
be more satisfactory on the following Sunday than for a
child to touch the picture of squirrels caressingly and say,
"Your heavenly Father feedeth them."

Compare a recitation of the verse, "Be ye kind one to
another," and a use of it in connection with pictures of
kind people, or those who have failed in kindness. Does
it call forth such a vivid sense of God's care to merely
recite for approbation the words, "He careth for you," as
for each child to say the verse, adding another child's
name and thus making it personal ?

Some teachers, whose vision is not greater than a per-
fect recitation, drill on prayer verses and let the children
compete as to who can say them best, while instead they
might in them find a means to worship. For it is very
real worship w^hen a child, after speaking of daytime joys
and the night when God's stars keep watch, bows his
head and says, " 'The day is thine, the night also is thine.* "

[77]

LESSONS FOR TEACHERS OF BEGINNERS

It is neither asking nor giving thanks, but nevertheless
an expression of gladness and wonder at God's power,
when after recounting winter joys or summer beauties a
child prays, rather than says, " 'Thou hast made sum-
mer and winter.' "

Can you add instances of Bible verses used in such nat-
ural ways? What is your conclusion in regard to their
function ?

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Explain what is meant by the "circle talk."

2. Give your reasons for considering it important.

3. How are both self-expression and instruction a necessary
part of a child's education?

4. Give an instance of the formal teaching of a song.

5. Prepare to teach a song in a way that will induce self-
expression.

6. Describe the sympathetic and unsympathetic use of Bible
verses.

[78]

LESSON XIII

Building the Program — The Circle Talk
{continued)

With language begins Expression and Representation
of the inner Being of Man. — Friedrich Froebel

The Ideal Atmosphere

We prate much of the advantage of the right atmos-
phere during the circle talk, and in my opinion try to cap-
ture this desirable condition in exactly the wrong way.

Have you ever seen a teacher endeavoring to force an
atmosphere artificially? Was the effect wholesome?
Isn't it on the same principle as setting out to influence
others? He who most eifectually casts the spell of his
individuality over his fellowmen is he who is uncon-
sciously noble, spontaneously helpful. So it is the teach-
er's spirit that creates the atmosphere — her forgetfulness
of self in her interest in the children ; her susceptibility to
their feelings; her own longing for worship; her absorp-
tion in the theme of the day; her enthusiasm in the sub-
jects discussed. Without decrying in the least such
assistance as music and beautiful surroundings and the
informal arrangement of the circle, after all, it is the
soul of the teacher that induces the ideal atmosphere.

[79]

LESSONS FOR TEACHERS OF BEGINNERS

The Child's Worship

We have already spoken of two Important elements of
the circle talk — song and Bible verse, and decided that
they should be placed under both the headings Instruction
and Self-Expression. Let us take up next the subject
of prayer — a very necessary part of the circle talk.

Supposing that we as teachers are In tune both with our
heavenly Father and his little children, and keenly alive
to the privilege — you note I say privilege rather than duty
— of communicating with him, how Is true prayer to be
Induced? Must It, to be sincere, be wholly spontaneous,
the words the choice of the moment, the chance expression
of an immediate thought?

Surely there is a wonderful reality In these little, spon-
taneous prayers, when we name over the things for which
we are glad — the new suit, our food, or rather, apples,
bread, cereal. Ice-cream, and the specialized list which a
little child must always give, the flowers we have brought
to Sunday school, the sunshine coming through the win-
dow— and say or sing "Thank you." Sometimes w^e do
not go so far as to express gratitude but simply say, "We
are glad." Often the praj^er is one asking for help, or,
when our thoughts are turned to kindness, we stop to
say, "Please help us always to be kind to our sisters and
brothers." If the theme is obedience, we ask to be made
strong to mind, no matter if we don't want to; If help-
fulness, we tell the heavenly Father that we shall try
never to forget to help care for the birds and our pets.

Such spontaneous prayers are the finest kind of self-
expression, and the Informality of the Beginners' circle,
together with the teacher's spirit. Induces the atmosphere
that makes them not only possible but necessary.

[80]

THE CIRCLE TALK

What influence do you believe such worship will have upon
the child's prayers as he grows older? Will it be easy
and natural for him to speak to God from the heart any-
where and at any time? Will this habit of communing
with him so cling that, like Enoch, our children will all
their lives "walk with God"?

And yet there are more formal prayers which, like
songs, must be learned, which the unsympathetic teacher
may reduce to mere forms, and which, on the other hand,
may serve as a delightful and childlike medium of wor-
ship. We have spoken of Bible prayer-verses and there
are also prayer songs and prayer-poems. These require
instruction, but of that sort which will lead to self-
expression.

A three-year-old child, who was away from home with
her parents for several weeks, said on her return, "Every
morning I sang,

" 'Father, we thank thee for the night,
And for the pleasant morning light.'

"I'd lie in my crib and sing it all by myself."

Wasn't that charming self-expression? "Jesus, Ten-
der Shepherd, Hear Me" becomes a beloved evening
prayer, and both in Sunday school and at home children
sympathetically taught such prayers will suggest their use.

There is still another phase of worship which can
scarcely be tabulated, and yet which is perhaps the
truest worship of a little child. It is his wonder. Carlyle
has said, "Worship is transcendent wonder."

An Easter lily stood in the circle one Easter Sunday.
On the blackboard was the drawing of a church bell, and
on the wall a picture of a church spire in which hung a
bell.

[8i]

LESSONS FOR TEACHERS OF BEGINNERS

"Find me an Easter bell," said the teacher, whose plan
was to introduce the thought of the day by speaking of
the Easter bells that call people to church.

A small boy, with never a glance at drawing or picture,
stepped eagerly to the plant, and touched almost rever-
ently one of the white lilies. "God's Easter bell," he
said.

And then, in groups of two or three the children went
up to the lily, caressing its fair petals, inhaling its fra-
grance, and — wondering. There was during those mo-
ments worship, though no audible prayer. For what
could be truer worship than the raising of the children's
hearts in loving wonder to the Creator of beauty!

When your children bring you the flower, tht dainty
sea-shell, the marvelous bird's-nest, the painted autumn
leaf, do 3^ou thank them and say, "How pretty!" possibly
murmuring something about God who made them, or
do you stop a while and wonder? When from your
window you see the leaves dance and the boughs wave,
mysteriously, magically, do you talk glibly of the wind,
or do you stop talking entirely for an instant, and just
wonder? When your thoughts have been turned to the
night-time, and the children have told tales of the starry
heavens, do you make use as worship of that child wonder-
verse, —

"Twinkle, twinkle, little star,
How I wonder what you are,
Up above the world so high,
Like a diamond in the sky!"

When your children, to those prayers that are spoken
and sung, both spontaneous and formal, have added the
worship of wonder, then have they truly communicated
with their heavenly Father.

[82]

THE CIRCLE TALK

Expression through the Hand

Again, take the matter of hand-work — if such little
children's crude drawing or coloring can be dignified by
such a term. Has this any legitimate function in Sunday
school if it is not self-expression? Are we teaching our
children here to be artists or craftsmen of any sort? Is
there the time for this? the need?

The reason a teacher who understands little children
occasionally suggests a use of crayon and blackboard or
paper is not alone to vary monotony and thus reawaken
interest, but to afiford fingers the opportunity of which
lips often are incapable. For self-expression is such a
necessary part of a child's development, and the vocabu-
lary is so limited and words so difficult for shy lips to
form that the problem is frequently solved by hand-work.
The blue blur is the flower which makes the child glad,
the straight mark the stick which David used to protect
his sheep, the tiny dots the crumbs with which the child
fed the birds, the yellow crosses God's stars that keep
watch when a child sleeps, the green marks God's carpet
for the earth, on which his beasts feed.

By no means put this part of the circle talk under the
heading Instruction, or show approbation or disap-
proval of the little child's manner of expressing his
thought, but lay your emphasis upon the thought ex-
pressed.

The Use of Pictures

We may test the efficacy of our methods in a similar
way by our use of pictures. They are often necessary
as instruction, for giving a clear mental picture of sheep,
of birds, of trees, and of story incidents. They should

[83]

LESSONS FOR TEACHERS OF BEGINNERS

also be made so interesting and so full of meaning that
they may be a delightful aid to the little child's power of
expressing himself.

"Find all the pictures of kind people," says the teacher,
and the children show w^hat impression of kindness thev
have received by touching the good shepherd, the good
Samaritan, and possibly the mother in the Sistine Ma-
donna.

"Touch pictures of creatures and things the heavenly
Father takes care of," she suggests again, and the children
pick out animal and bird and flower pictures, and even
discover these things as details of Bible story pictures.

"I wonder who can find me a picture about the verse
*Let us love one another,' " she asks, and the pictures
illustrating helpful love are chosen.

The crux of the whole matter is this — to develop not
inform, to draw out not pour in, and thus give to the
child his opportunity to grow naturally.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. What do you mean by "atmosphere" and how is it
obtained?

2. Write out your ideal of a little child's worship.

3. Give some illustration of spontaneous prayer on the chil-
dren's part and of a prayer so taught as to be real self-expression.

4. Illustrate how hand-work has a legitimate place in the
Sunday school.

5. How may pictures be an aid to self-expression?

6. Discuss similarly any other element of the circle talk you
may have in mind.

[84]

LESSON XIV

Practise in Conducting the Circle Talk

They found him in the temple, sitting in the midst of
the teachers, both hearing them, and asking them ques-
tions.— The Gospel according to Luke

Its Possibilities

A teacher of Beginners once said, "It is the circle talk
that I find difficult. When I get to the story, I feel so
safe."

Why was this? Simply because during the story-
telling the teacher has the floor and can discourage
interruptions. In the circle talk, on the other hand,
the children's chance remarks, their comments and
questions are not looked upon at all in the light of inter-
ruptions. Indeed, they are a definite part of the program,
and the failure of a teacher to induce such confidences
from her class is as great as to tell the story poorly, or to
conduct a session destitute of worship.

To meet such remarks wisely and effectively is not easy.
One may definitely prepare the story, but, except in its
general trend, the circle talk must ever be an unknown
quantity. What staggering questions will our children
ask? What frank bits of new^s from their world, the
home, will they divulge? What unexpected comments
will they make upon the story or our statements? What

[85]

LESSONS FOR TEACHERS OF BEGINNERS

malapropos remarks may they venture? The circle talk
is as much more difficult than the story for most teachers
as is the open debate than the studied speech.

Is this discouraging? Not so, except to very faint
hearts, but rather stimulating. The most highly civilized
nations of the world have made conversation a fine art,
and become skilled in repartee. What finer art can a
teacher of little children cultivate than the satisfying one
of meeting their confidences with loving sympathy, their
questions with thoughtful answers, their naive comments
with wise tact, and their bits of news with respectful
attention? Such a teacher will find abundant reward in
the wider opening of that door of communication between
her and the children, which spells friendship, and a still
finer satisfaction in the disclosures such free expression
reveals of the real feelings and opinions she has been able
to induce through her teaching.

A question occurs right here. Should these communi-
cations simply be accepted as confidences, to establish an
intimacy between teacher and children, and as indications
of the efficacy of the teaching they have received, or can
they be further utilized?

In one of our first lessons we quoted Dr. George
Dawson as saying, ''Everything in a child's surroundings
should be interpreted religiously." Here, then, is our
great opportunity to accomplish this. The interests and
incidents of the children's lives, brought to us informally,
may often be related to the lesson of the day. They may
frequently be illustrated by a song or a Bible verse.
They may suggest an explanatory blackboard drawing.
They may lead to prayer. In other words, they may be
''interpreted religiously."

[86]

CONDUCTING THE CIRCLE TALK

The Secret of Success

Does this freedom on the children's part suggest to
your mind pandemonium, an unregulated buzz of conver-
sation? Surely not that. It is simple to request one
child to wait for another to say what he wishes. Does it
suggest desultory talk on any subject whatever, entirely
without sequence or connection? From this one might
gain intimacy but hardly education. Without doubt
there will be many an irrelevant remark, inappropriate
question and recital of incidents impossible to relate to the
subject at hand. It lies with the teacher to perceive both
when this is so and when a connection is possible. It
lies with her to discern between the confidence that may
be interpreted by a song or a word, and that which should
be merely received sympathetically; between the remark
which should be passed over and that which will inten-
sify the thought of the day, or the child's religious feel-
ing; between the question that demands a thoughtful
answer and that which is not worthy serious attention.

The teacher who is in close sympathy with her children
will gain their confidences, and if she is also filled with the
lesson theme, she will be quick to catch any connection
between it and their chance remarks. Then, too, she
will be adept in guiding the conversation into a channel
that will illustrate this theme.

Nor will she limit her "interpretations" entirely to the
present theme, for surely a child may be thankful as well
as inspired to generosity at Christmas, and a reference
to clothes or food should deepen his sense of the
heavenly Father's care, in the spring as well as when that
subject was particularly impressed. Remarks that illus-
trate past as well as present themes are valuable, always

[87]

LESSONS FOR TEACHERS OF BEGINNERS

remembering that the chief object is to make clear the
theme of the day.

Practise Work

Nor must a teacher rely too much upon her sympathy
and quick-wittedness at the moment. She may gain by
practise in conducting the circle talk as in story-telling.

Suppose we play a kind of game. We will write one
of the themes where all can see it. A member of the class
may make a natural child's remark, and select another
member to meet the remark as a teacher should — pay little
attention to it, briefly comment upon it, or relate it to the
theme. Then will follow an open discussion as to the
wisdom of the method used and possible suggestions for
one that is better. Whoever makes such a suggestion
will next give a typical child's remark or ask a question
or offer a confidence, and this will be responded to in like
fashion. Any so-called child's remark that is not actually
childlike will be ruled out.^

Take first the theme, The Heavenly Father's Care.
Suppose a child says, "See my new suit!" Isn't this a
remark to be hushed up, lest he become unduly fond of
clothes? Can it have any possible connection with the
theme? Surely it can — a very real one. The new suit
may be "interpreted religiously." Instead of, "Hush,
hush, my dear, do not talk about your clothes!" the under-
standing teacher will say something like this — "I am so
glad you have such a warm, pretty, new suit. Who

*This method has been used successfully, and given in-
experienced teachers a clearer idea of informal, inductive teach-
ing than would be possible in any other way, except by visit-
ing a Beginners' class session. A suggestive discussion follows.

[88]

CONDUCTING THE CIRCLE TALK

gave ft to you? Did you know that your father could
not have given you your suit, except for an animal that
wore it first? Yes, a woolly sheep. And do you know
who made the coat for the woolly sheep and for you?
Yes, the heavenly Father. 'He careth for you.' " And
most natural after this will be the suggestion by a child
of the song, "He Cares for Me." Thus the theme of
the day will be introduced or continued through a little
child's casual remark, and he will be helped to see the
loving care behind his clothes.

Suppose, instead, a child starts to relate in all its details
some catastrophe he has witnessed on his way to Sunday
school — such as a dog run over by a car. Isn't this one
of the confidences to be nipped in the bud, that he may not
impose his feeling of horror upon the entire group? If
you feel that the confidence will be somewhat assuaged
by sharing it, as is often the case w^ith children, let him
tell you after Sunday school, or an assistant may take him
aside to listen to the tale and help him to forget it.

Suppose, still again, a child comes across the circle to
say eagerly, "My grandma has come to see me." Shall
you attempt to relate such a bit of home news to the
theme ? Wouldn't such an attempt be rather far-fetched ?
It seems to me the natural response will be, "How lovely!
A visit from a grandma is one of the nicest things that
can happen." It will perhaps be spontaneous to include
in a prayer you make later about being glad for various
things the children have mentioned "and for visits from
grandmothers and people we love."

Take now the theme Children Helping. Children
respond well to your questions as to how they help at
home, but in the midst of recitals of dishes wiped, errands

[89]

LESSONS FOR TEACHERS OF BEGINNERS

done and chairs dusted, a young child may look at you
fixedly and remark, "You've got on a new hat." Can this
possibly be connected with the subject? Will you, then,
treat the small interrupter like a culprit? Will you not
rather say, ''Yes, and I like to have new things, don't
you?" and then continue with your talk. Suppose, in-
stead, a child says, equally irrelevantly, "My mother
won't let me eat candy." Isn't this an opportunity to
show that obedience is a very good way of helping? And
then, perhaps, say you know a song about the kind of
helpful child that minds and dusts and goes on errands
with a happy face, and sing, —

"Happy as a robin,

Gentle as a dove, —
That's the sort of little child
Every one will love."

The charm of the circle talk comes from weaving to-
gether remark, song, story review, Bible verse, prayer
and question into a connected whole, one thing explain-
ing and complementing another, so that the theme never
becomes tedious, being impressed in such a variety of ways,
and the children's thoughts are regarded and interpreted.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Explain In what lies the difficulty of the circle talk.

2. Give your idea of its charm and possibility.

3. What attitude and spirit on the teacher's part will lead
to success?

4. Mention two natural remarks of children, one of which
may be related to the theme, Love Shown by Kindness, the
other having no relation, and describe your manner of meeting
them.

5. Do a similar thing in connection with the theme, Friendly
Helpers.

6. Outline a suggestive circle talk on any theme you may
choose.

[90]

LESSON XV

Building the Program — The Remaining Parts

^^Genius is the capacity for taking pains"

The Greetings and Opening Music

We have spoken of the two very Important parts of
the program, the story period and the circle talk. If we
allow twenty minutes for the circle talk and fifteen min-
utes for the story period, v/e have twenty-five minutes
left. How shall we fill this time most profitably? Tell
me rapidly things 3'OU have noticed in the program and
we will consider which are essential and which non-
essential.^

First of all, what is natural at the very beginning of the
session? Is it enough for the teacher to greet the chil-
dren as they enter the room? Shouldn't they greet each
other as well? Does this do away with any formality?
What kind of an atmosphere does it induce? Does it
accomplish anything toward allaying the lonely feeling of
the shy children present for the first time? Would you
single out such a child to be greeted? Why not? Should
the greeting song be very simple, one that can be picked

* The unimportant as well as the important parts should be
considered, the class deciding which are superfluous and which
necessary. Always remember that you are the class leader,
not its dictator. The above discussion is, of course, merely
tj'pical.

[91]

LESSONS FOR TEACHERS OF BEGINNERS

up readily without formal teaching? What is the sim-
plest one you know?

Do you ever ask two or three children to go about the
circle shaking hands, and looking into each other's eyes,
while the greeting song is sung? Do you think that
every absent child should be mentioned each Sunday?
that those who were absent the Sunday before should be
sung to, individually or collectively?

Can we afford to spend a long time in this greeting?
Have you ever seen it dragged out to such length that
it lost its effectiveness ? Let it be hearty and spontaneous
and it need not take many minutes. If it is perfunctory
with us, it will be with our children. Unless we as
teachers infuse into the simple song, so often repeated, an
enthusiastic warm-heartedness, it will degenerate into
a monotonous, stereotyped thing. The greeting is actually
a test of our real fondness for the children and gladness
to see them. Might it occasionally be seasonal, as at
the New Year, Christmas and Easter?

But is a circle of active little children usually in a con-
dition for a regulated greeting? What are these chil-
dren apt to be doing before the beginning of the session?
Even if they are in their chairs, are they sitting motion-
less? Will it need considerable "calling to order," if we
take that method of notifying them that Sunday school
has begun? Is there a better method of doing this?
And anyway is your sole object calling to order? At
this very beginning an atmosphere may be induced and the
keynote for the hour struck. How? Yes, very effectively
and satisfactorily by opening music, usually termed
"quiet music." What will this do as regards discipline?
the children's feelings?

[92]

THE REMAINING PARTS

What character of music should be used? May it
accomplish more than merely producing a good atmos-
phere and orderly behavior? When a new tune is played,
it is in this way made familiar. Should such music al-
ways be quiet? Think of a sultry, lifeless day, and a
circle of tired, dull children. What kind of opening
music would you use then?

Let us set aside the first five minutes for the open-
ing music and greeting.

Birthday and Cradle Roll Services

There is a certain very important event in a child's life
that we must not lose sight of in Sunday school. Next to
Christmas, to what day do most children look forward?
A birthday is a red-letter day in a child's year, for it is
usually celebrated at home in some fashion, and it marks
an advance toward the delectable state of being grown-up.
The feeling that has prompted its observance in the
Sunday school is an excellent feeling, though its observ-
ance has frequently been ill-advised. Describe to me
birthday celebrations you have observed and criticize
them.

Is it necessary or desirable that we pattern our Sunday-
school birthday recognition after home birthday celebra-
tions? Why not leave the birthday cake for the home in-
stead of supplying a dubious imitation in wood, on which
dust collects and, in summer, candles droop piteously? As
pleasing to the birthday child and far more appropriate is
a special chair in which he sits. It may be a chair differ-
ent from the others or one decorated with a bow of bright
ribbon, and the honor of occupying it has the added
advantage of taking none of our precious moments. How

[93]

LESSONS FOR TEACHERS OF BEGINNERS

much time can we afford to spend in a birthday recogni-
tion? Is there need of a special birthday song? prayer?
Let us never forget that simplicity and brevity, w^here
there is genuine feeling, are more effective than long,
elaborate exercises.

Should the Cradle Roll have any connection with the
Beginners' department, and should it be noticed in the pro-
gram? Have Vv^e the time or the need for a lengthy serv-
ice of admission to the Cradle Roll ? Need the Cradle Roll
be mentioned each Sunday ? Isn't it possible on a Sunday
when a number of birthdays need to be recognized to
postpone admitting a Cradle Roll baby till the following
Sunday?

Opening Prayer and Offering

Should there be prayer early in the hour — a recognition
of God's presence? It seems natural, indeed, necessary
for a truly spiritual teacher to speak to the heavenly
Father, as she and the children have spoken to each other.
This prayer may occupy a special place in the program
and yet be sincere, if it is a real prayer on the teacher's
part and suggested sympathetically to the children. After
a time they will grow so accustomed to it that they will
often suggest speaking to the heavenly Father.

Do most children bring an offering? For what is
it desirable that the money should go — for the purchase of
supplies or for some charitable object? If the latter,
should the children know anything about the object, that
is, should they be given a detailed account of a mission
field? Is there time? the necessity? Is it sufKcient simply
to say that the money is for some of God's poor people?
Is there any special time of year when the offering should

[94]

THE REMAINING PARTS

be made a very prominent part of the program? How
about Christmas? Name various methods of taking up
the ofEering, and let us decide upon the most practical.
Do you advocate a lengthy offering service? Isn't five
minutes ample for either cradle roll or birthday service,
opening prayer and offering?

The Order of the Program

After this w^ill naturally come the circle talk, lasting
for about twenty minutes. Or will the story come best
before the circle talk? It seems natural, doesn't
it, to have the review of the last story and the conversa-
tion in regard to its truth before the new story? Isn't it
best to listen to the children's confidences early, rather
than late in the hour? Sometimes they cannot wait
even till the circle talk to tell the news they are full of.
And then, the program should be so planned as to work
up to a climax — that climax the story, with its response
of feeling.

Between the circle talk and the story period what is
needed, that the children may attend well to the story?
Surely three or five minutes for moving about and resting
cramped bodies.

After the story period there should be an orderly dis-
missal. This will be best effected by putting on the
WTaps before the good-bye song is sung. If, however,
there are mothers to attend to the wraps, or if the room
opens directly upon the street, the good-bye song may be
sung and the folders distributed before the slight disorder
of getting the children ready for outdoors.

The following, then, is the program as we have out-

[95]

LESSONS FOR TEACHERS OF BEGINNERS

lined it, the program that is to make possible, and not
destroy freedom.

Quiet Music and Greeting 5 mmutes

Birthday or Cradle Roll Service

Opening Prayer • 5 minutes

Offering Service

Circle Talk 20 minutes

Rest Period 5 minutes

Story Period 15 minutes

Putting on Wraps

Good-bye Song > 10 minutes

Distribution of Folders

60 minutes
Dismissal

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Give your ideal for the greeting.

2. Bring examples of effective opening music and tell
where found.

3. Write out effective plans for birthday and Cradle Roll
recognition.

4. Tell your opinion as to the object of offerings and an
appropriate service.

5. Outline a program, with reasons for the order.

6. Come prepared to carry out an entire program, choosing
your lesson.

[96]

LESSON XVI

The Importance of Music

All the music that we hear.
Listening with the outward ear.
Would be powerless to win us,
' If there lived not deep within us
Its innate idea.

— Friedrich Froehel
Its Double Function

Did you ever hear of a Beginners' session without
music? Why is music used so universally? It has
two functions — its effect upon the children and its use as
self-expression.

What effect has martial music upon soldiers? a lullaby
upon a baby? Mention other instances of music's won-
derful influence. Give illustrations of music that has
made a special appeal to your children. There is the
music at the beginning of the program, which has power
to create an atmosphere for the hour — the reverent hymn
that induces worship, or the cheery tune that dispels dull-
ness and inertia. What a challenge is the brisk march to
leave the room in good order! What an awakening of
the spirit of hearty greeting the well-known notes of the
welcome song! Have you utilized music in this way
all that is possible?

Then there are the songs which afford a means of self-

[97]

LESSONS FOR TEACHERS OF BEGINNERS

expression. If the tunes of such songs are adapted to
the words, and if the words are simple and childlike, and
have been so taught as to be full of meaning, the play-
ing of the tune will seem to say to the children, "Come
and sing me! Here's something you want to sing!"

So, in our use of music, let us think of its double prov-
ince, and not limit ourselves to a single function.

Its duality

There is something else to be thought of beside the
type of music we use, and that is its quality. Quiet
music may be a trifling air played softly or it may be a
succession of delicate, harmonious chords. A march may
be rag-time, or one equally easy to march by, and yet
high grade. Music must be of a worshipful character
in order to inspire to prayer. Of all places Sunday school
ought to be one in which children's ears grow accustomed
to the finest music, and the Beginners' department should
set the standard.

As to songs, what is a necessary qualification, if little
children are to sing them at all? In your opinion does
simplicity mean inferiority? They must not only be
easy to learn but so attractive that the children will wish
to learn them. Rhythm is essential and that does not
in the least mean two-step or cheap waltz time. Melodies
that w^ill sing themselves in the child's head and insist on
being hummed are what we want, and are in no way
inconsistent with high-grade music. Many folk-song mel-
odies and airs from classics are childlike, simple and
alluring.

As to the words, let the same rule hold. Shall we
teach words so beyond the comprehension of the children

[98]

THE IMPORTANCE OF MUSIC

that they cannot be used as the expression of their
thoughts? Shall we, on the other hand, fill their minds
with trivial words or trash, their one recommendation
being their simplicit}^? Mention examples of both kinds.
Which is preferable ? Can j^ou repeat a song that is both
simple in thought and word and also good literature?
How about some of Robert Louis Stevenson's poems?
Christina Rossetti's?

Selection of Songs

We must remember that little children cannot learn
many songs, and therefore plan very carefully our year's
program, so that the songs cover and yet do not unneces-
sarily duplicate the truths taught. One Christmas song
well-known, and therefore well-beloved, is far better
than several that can be but half-learned. If we want a
song that expresses the love of the Lord Jesus, "Jesus
Loves Me" is both time-honored, appealing to children,
and so simple that the smallest child can pick up at least
the refrain. It is appropriate and inspiring with all the
stories of Jesus. The Bible verses that are used with the
lessons, when set to music, may make a delightful combina-
tion of valuable words and simple tunes. Not more than
one seasonal song is advisable, and a single verse of a song
is usually enough. Occasionally, in a long song, such as
**Can a Little Child Like Me," the teacher may sing the
verse and the children join in the refrain — in this case
a prayer. Frequently a song may be sung to the children
by the teacher. This is a pleasant change from continu-
ous talking, and no teacher need be a professional singer
in order to be quite acceptable to her small audience.
This gives an opportunity for a good many more songs

[99]

LESSONS FOR TEACHERS OF BEGINNERS

to be enjoyed than can possibly be learned by the children.
Often one tune, such as that of ''Good Morning to You,"
may be used with a slight change of words for Christmas,
New Year and birthday greetings, to save learning a new
tune.

In the teachers' text-books of some Beginners' courses,
notably the International, a program of songs is given, the
words of many of them being printed on the child's folder,
to facilitate their use at home. A caution is needed right
here against following any such schedule absolutely, for
adaptations must always be made to one's own particular
children. Any such program naturally takes into consid-
eration the fact that, except in departments newly formed,
a part of the children will remember more or less well
the songs of the previous year.

In our selection of songs, then, let us test each one thus:
What appeal does it make to little children? Will the
words awaken thought or serve as self-expression? Have
they literary merit as well as the quality of simplicity?
Is the music high-class and yet attractive and singable?
Is this a necessary song or does it duplicate a thought?
Is one verse sufficient? How can I secure the use of
this song at home as well as in Sunday school? With
what other lessons besides this particular one will it be
appropriate? If it is hardly worth the effort of being
learned, will the refrain be sufficient? or shall I sing it
all to the children?

Tlie Use of Songs

Having spoken now of the function of music and rules
governing the selection of songs, and in our lesson on the
circle talk considering quite at length the sympathetic

[ 100 ]

THE IMPORTANCE OF MUSIC

teaching of songs, that they may be sung understandingly,
suppose we spend the remainder of this class in thinking
about the use of songs. For it is frequently the case in
all our teaching that we fail signally to make the most
of what we have taught. We study to tell our stories
well and have them retold, but then consider our task at
an end. We teach Bible verses so that they are recited
intelligently, when w^e drop them as things learned
and therefore finished with. When a song is learned and
sung at the appropriate time, we are too apt to leave it.
Most of us have not caught the vision of the use we can
make of old stories, familiar Bible verses and beloved
songs, thus deepening their impression a hundred fold.
The more little children use the few songs they know,
the better they love them and the more spirit they put into
them. This does not mean that spring songs should be
sung when snow is flying, and the New Year welcome
when the year is ncaring an end, but that songs not strictly
seasonal will bear frequent use and gain instead of lose
through repetition.

A Means of Emphasizing the Thought

Sometimes It is well to sing just for the pure love of
singing — song after song that the children choose. Some-
times w^e suggest the song that fits the thought, or im-
presses our teaching. And most often the song forms a
part of the continuous sequence of thought our session
claims to have — chosen now by a child, now by the
teacher, illustrating a picture, introducing a story, making
clear a Bible verse — so fitting into thought and feeling as
to assist in making the program a unit. Do we feel the
desire to worship? We have prayers that are sung as

[ lOI ]

LESSONS FOR TEACHERS OF BEGINNERS

well as spoken. Are our hearts filled with love of Jesus,
the children's friend? What more appropriate expres-
sion of our feelings than the well-beloved "Jesus Loves
Me"! Does the outdoor world make a strong appeal?
There are the songs of the season. Is Christmas or
Thanksgiving absorbing our thoughts? It is time for
a festival song. Have we received an impulse toward
kindness or helpfulness or loving obedience? This im-
pulse is wonderfully strengthened by a song bringing out
the same idea.

The way songs are chosen adds much to the children's
interest in them. Tell methods you have used successfully.
The element of mystery and surprise Is always fascinating.
"We will shut our eyes and when we open them Ruth
will be standing by the picture that makes her think of
a song," we say. "We will play be asleep, while John
whispers a song to the pianist, and we will not wake up
till we know from the tune what song it is." "Harry
will draw something on the board that will help us to
guess the song he wants." Such methods add variety
and interest.

A Means of Self-Expression

Again, our use of songs is largely as self-expression
and never as an accomplishment. There will always be
the child who is a line behind, the child who sings in a
monotone, the child who will not sing at all. A finished
performance is not possible with such little children,
especially as we have them but once a week, but life,
interest, appreciation and self-expression are possible.

You notice I have used the pronoun "we" instead of
"they." This is done advisedly, for unless we share with

[ 102]

THE IMPORTANCE OF MUSIC

our children their enthusiasm, their feeling and their tbve
of singing, we are not truly sympathetic. Our own
power of entering into the simplest and oftenest repeated
song with abandon, real and not assumed, shows us tru«
child lovers, sympathetic guides, feeling what the chil-
dren feel and sharing their spiritual growth.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. What is your idea of the function of music?

2. Illustrate your ideal of songs, both music and words.

3. Report the best sources you know for this type of song.

4. Make out a possible schedule of songs to be used for a
quarter with the Beginners' course you are teaching, and bring
to the class for criticism.

5. Discuss possibilities for the sympathetic use of songs.

6. Come prepared to conduct a circle talk, bringing in tke
songs effectively.

[103]

LESSON XVII

Seeing and Touching

Round-eyed, quick to hear and eager to touch, he is
busy absorbing the world about him. — Luther A. Weigle

Utilizing More than One Sense

It Is perhaps hardly necessary, in these days when sense
training Is becoming such an Important part of a child's
education, to speak of the advantage of appealing to more
than one sense In our teaching. However, do not most of
us confine ourselves too closely to a single sense, and that
Is — ? By story, conversation and music we appeal to the
sense of sound, largely to the neglect of sight and touch.
And the response we look for must also be directed to our
sense of hearing — our children must speak or sing.

Now, it is a fact that ear-drums become somewhat lax
in sending messages to the brain If they receive too many,
so why not give eye and hand a chance? For, In the be-
ginning of the child's development, eyes and inquisitive
fingers did even more for his education than ears, and we
shall do him a hurt by neglecting to continue utilizing
them.

Number, Size and Color of Pictures

Possibly, next to songs, pictures are most generally
used in Beginners' departments. In this way the impor

[ 104]

SEEING AND TOUCHING

tance of an appeal to the eye has been recognized, but
oit^^i, alas, indiscriminately. Some teachers seem to act
on the principle that if a thing is good, more of it is
better. For instance, if one picture is good, fifty-two a
year are better, and as many more as possible better still.
If a small picture is good, a large one is better, and a very
large one best of all. If color attracts children, all pic-
tures should be colored, and the brighter the colors the
more attractive the pictures.

Let us stop to consider this matter. Do you think
there can be such a thing as too many pictures? Isn't
this our present-day danger — giving our children a super-
fluity of everything? What is the effect upon them?
Isn't it far better for one picture to become familiar and
w^ell-beloved than for a great number to be merely
glanced at? If two pictures illustrate the same thought,
wouldn't it be well to choose between them instead of
presenting both? Of course, where one uses pictures to
bring to the children's minds several varieties of the same
thing — such as animals, flowers or vegetables — the matter
is somewhat different.

As to the size of the pictures, is there any possibility
of their being too large? Can children be as intimate
with a very large picture as with one comparatively
small? Will such pictures tend to take away the
homelike atmosphere of the room? On the other hand,
are pictures so small that they cannot be seen a yard off
of very much use in a Beginners' circle?

In regard to color, do you prefer all the pictures
colored, or do you see any advantage in a variety — some
in black and white or brown tints and some colored?
Might those that are colored be more distinctive for

[105]

LESSONS FOR TEACHERS OF BEGINNERS

being comparatively rare? Do you see any argument in
having pictures portraying figures and action uncolored,
while nature pictures of flowers, birds and trees are
colored? Does a horse need to be colored to attract a
child's attention? a kitten? a squirrel? How about a
flower? a bird? a vegetable?

A teacher may argue that, because children notice and
like highly-colored newspaper supplements and other pic-
tures of crude coloring, therefore only such will appeal
to them. What is your opinion ? We owe their esthetic
sense something, and it is as much a cheapening of reli-
gion to associate it with crude pictures as with inferior
music.

Form, Kind and Use of Pictures

Not alone the size but the form of the pictures is
important, if they are to accomplish all that is possible.
The chief point to remember in regard to their form is
that they be of such shape the children can easily
handle them, and that not only the picture of the day but
those for a few preceding Sundays be in sight and often
referred to. What form lends itself most readily to this
necessity ?

The kind of story pictures to be chosen are, naturally,
those that depict events most likely to interest children.
Usually a picture showing action is most desirable. Let
us examine critically pictures of different Beginners'
courses and see if they meet this test. Also let us see how
many emphasize the truth taught. Is it well to have
some of the pictures of recognized artistic value? Why?

The use of pictures as a means of self-expression we
mentioned in our lesson on the circle talk. What other

[io6]

SEEING AND TOUCHING

uses have they in connection with the story of the day?
with preceding stories? How can they be used in inter-
preting Bible verses? songs? as a test of the children's
grasp of the truths taught? in awakening thought? as
an incentive to purposeful physical activity? Can
they be used in any other way?

A Neglected Sense

Let us turn our attention to another sense — one which
has received too little attention at our hands, and yet one
every child makes use of instinctively — the sense of touch.
We speak laughingly of the propensity of children to "see
through their fingers," and yet constantly baffle the use
of this sense by the command, "Don't touch." "Being
good" in a child means to the average adult eyes and ears
on the alert, but a tempered tongue and folded hands,
unless, indeed, they are engaged in performing a legiti-
mate task — legitimate being interpreted helpful to grown-
ups or, in their eyes, educational.

So in the Sunday school we hang pictures well up out
of reach, show objects but do not encourage handling
them, and thus deliberately abandon that avenue
of knowledge — touch. Little fingers eager to stroke and
point out and small hands formed for grasping and feel-
ing are forbidden their part in the wonderful task of
gaining ideas.

Shall we not reform and allow fingers in our scheme
of education — not only as a means of so-called "hand-
work," but to touch and handle objects and so learn about
them and love them? Let us try to remember the days
when the floor was so very much nearer than the ceiling,
and in an ordinary room the legs of the furniture were

[107]

LESSONS FOR TEACHERS OF BEGINNERS

better known to us than the backs or tops, when the man-
telpiece was a distant part of the world and even most
windows high peep-holes, through which we could only
look a-tiptoe. With such remembrances, in our Begin-
ners' room we shall drop our pictures from a place mid-
way between ceiling and floor to a level with little chil-
dren's eyes and finger tips. We shall have our black-
boards low enough for short people to use easily, and any
objects will be placed on a low table in the circle.

Then the pictures may be touched and the people and
animals and flowers in them indicated. The shy child,
who will not tell any of the story, will delightedly point
out in last Sunday's picture the Wise Men, the camels and
the star, the shepherd boy holding his rescued lamb, or
whatever the story characters may be. Some tiny child may
even kiss a pictured story hero or animal, thus showing
his affectionate interest.

The necessity for handling the objects used in the
Beginners' circle is easily seen, these almost in-
variably being objects of nature. The bit of lamb's wool
or the cotton-boll feels so much softer than it looks.
Why not pass it around so that every child may touch it?
It seems much more wonderful that the squirrels can
crack nuts and extract seeds from cones, when one has
felt just how hard and stiff they are. The sea-shell is
better known for being handled, the pussy-willow better
loved for being stroked, and who that has seen a child
sink his nose deep into the sweetness of a flower and gen-
tly finger its satin petals can bear to say, "Yes, pretty
flower, but dont touch''?

[io8]

SEEING AND TOUCHING

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. How is it possible to overwork one of the senses to the
neglect of the others?

2. Bring to the next class pictures illustrating good and bad
points in size and color, form and kind.

3. Come prepared to illustrate the use of pictures in any
way you may choose.

4. What sense are we apt to neglect?

5. Explain how a rearrangement of many a Beginners' room
is necessary if the senses of sight and touch are to be utilized.

6. Give concrete examples of the use of the sense of touch.

flOQl

LESSON XVIII

Learning Through Doing

The spiritual validity of hand-work is entirely a ques-
tion of method. — Milton S. Littlefield

Proper Perspective

The idea of hand-work has so caught the interest of
many Sunday-school teachers that they feel a session is
a failure without it. The teachers of Beginners realize
that little children's abilities in this line are limited, but
they are not willing to appear so behind the times as to
confess having no hand-work, and so there is much
clamor for cards to color, outlined figures to sew, mate-
rial for modeling, and the like. Money is carefully hus-
banded that kindergarten tables may be purchased,
specimens of hand-work are exhibited, books of hand-
work bound up, and hand-work bids fair, in the minds of
some teachers, to be the criterion by which Sunday-school
effectiveness is tested.

Probably the great fault with us all is lack of proper
perspective. It is so easy to say, "Here is a good thing.
Let us bring it into the foreground"; and shove back to
the dim distance others that should be prominent. Sup-
pose a thing is good — how good is it? Suppose a thing is
necessary — how necessary? Suppose a thing is worthy
a place in our program — how large a place?

[no]

LEARNING THROUGH DOING

Every now and then we get lost in a mass of detail
and need to restate our aim in teaching and, with careful
consideration of our limits of time and space, relentlessly
play the gardener, and pull out the growths that choke
and hinder the development of the finest plants of our
little garden.

Kinds of Hand-work

Now, first of all, tell me what hand-work is for. Its
proper function must be decided.*

We hear much about an impression being expressed.
Is this what hand-work means? If it does not accom-
plish this, then should it not be called "busy work"?
Make a list of all the kinds of hand-work you have seen,
and let us decide which must necessarily be mere busy
work and which may be self-expression.*

Can coloring cards be the expression of a thought?
Is this, then, valueless? Supposing the value to lie
merely in the increased familiarity with the picture col-
ored, should such work be frequent? Is there time for
clay modeling? Can it be done with neatness? I have
heard several teachers say, **I approve of hand-work, but
I draw the line at sewing." Is this your feeling? If so,
is it because there is something about using a needle that
is intrinsically more closely related to Sabbath breaking
than using a crayon? or is it because of the limitations
in sewing? Explain to me how paper-cutting or paper-
tearing may be used. Is the result worth while? Can

*The discussion will be based upon the answers given. If
original ideas are not forthcoming, draw them out as suggested.

' Here, again, the discussion depends upon the kinds of hand-
work named.

[in]

LESSONS FOR TEACHERS OF BEGINNERS

pasting possibly be self-expression? Is it ever advisable?
often ?

Drawing

Is drawing practicable? Does it require special equip-
ment ? Some teachers regard tables as a disadvantage, argu-
ing that in limited time it is better to make use of the
chair seats. What is your opinion? Suppose we discuss

Drawing in application of a story on kindness to animals.
Above is a dish of meat for a dog; at the right a window
from which crumbs are thrown for winter birds; and at the
left a tree on which the birds light.

the little child's capacity for expressing his thoughts
through this medium. Will the results be valuable as
artistic efforts? Will they be of permanent value —
worthy of preservation? In what will their value con-
sist? Let us illustrate this by making typical children's
drawings. Show on the blackboard how you have seen
a child draw a tree, a horse, a cup, a flower, a bird's-nest.

[112]

LEARNING THROUGH DOING

Can you reproduce a child's illustration of any Bible
story ?

These productions are certainly not artistic, often
hardly recognizable, certainly not to be preserved as mod-
els for the children's future work, so that these early con-
ceptions shall become permanent. And yet, despite their
crudity and inadequacy, they are valuable as expressions
of ideas. We usually are very lenient v^ath a child's
early imperfect use of language, and do not criticize him
for retelling a story in unrelated w^ords and incorrect
sentences, with original pronunciations and curious
paraphrases. When we regard early drawings similarly
as forms of expression rather than works of art, we shall
understand that they may have educational if not
esthetic value.

^

-..i^.,->.,

Drawing of things a child is thankful for — pussy willow,
violet, his house.

Study of Children's Drawings

In Professor Sully's fascinating study of children's draw-
ings, in "Children's Ways," he finds value even in a young

[113]

LESSONS FOR TEACHERS OF BEGINNERS

Drawings to review a story of God's gifts to the horse, the
points being a warm coat, strong legs, a tail for brushing oflE

[114]

LEARNING THROUGH DOING

flies, keen scent and sharp hearing. The upper drawing is the
work of a child four years old, who hangs legs, tail and head
on a line, indicating the body, and makes a full human face.
The middle drawing is by a child of five, who gets the idea
of profile, except that he puts in two eyes. The lowest drawing
is done by a child of six, who draws the horse more as one sees
it, even suggesting the hoofs.

child's first pencil scrawls, because, though having made
them aimlessly, the child either sees in them something re-
motely resembling in form his father or the kitty or a pig,
or by the alchemy of imagination converts the lines into
whatever his fancy may dictate, just as a stick becomes his
doll or pebbles his flock of sheep. Professor Sully has also
found children using original symbols to represent certain
objects utterly unlike them in form, always making use of
these symbols when pretending to draw the objects —
thus beginning the formation of an original language,
for are not words but symbols?

Professor Sully again says, speaking of drawings that
first make an attempt to reproduce in the slightest de-
gree the object, "It seems pretty evident that most chil-
dren v/hen they begin to draw are not thinking of setting
down a likeness of what they see when they look at an
object. In the first simple stage we have little more than
a jotting down of a number of linear notes, a kind of rude
and fragmentary description in lines rather than in words.
Here a child aims at bringing into his scheme what seems
to him to have most interest and importance, such as the
features of the face, the two legs, and so forth. In the
later and more ambitious attempt to draw a man in pro-
file the old impulse to set down what seems important
continues to show itself. Although the little draughts-
man has decided to give to the nose, to the ear, and pos-

[115]

LESSONS FOR TEACHERS OF BEGINNERS

sibly to the manly beard and the equally manly pipe, the
advantage of a side view, he goes on exhibiting those
sovereign members, the two round eyes, and the mouth
with its flash of serried teeth, in their full front view
glory. It is enough for him to know that the lord of
creation has these members, and he does not trouble about
so small a matter as our capability of seeing them all at
at the same moment."

Looking at children's drawings from this point of view
— as simply a small attempt at description with fingers
rather than lips — gives meaning to their rude sketches, in
that they indicate the points that particularly impress
them, just as early descriptions of objects are significant.
As the clock is, not something that tells time, not an arti-
cle of wood and brass and glass, but a "tick-tick," and a
knife is, not a small object of certain dimensions and ma-
terials, but "something to cut with," so a star is a yellow
dot or cross; a man a round head, with or without
features, possibly supported on two legs, but often bodi-
less; a chicken a little round object.

For a child belongs to the impressionistic school of art,
and it is simply his impression he tries to give us, drawing,
as Professor Augsburg tells us, not "directly from the
object, but from the image of the object that is in his
mind."

Place in Program and Aim

If hand-work has a legitimate place in the program,
there are some further points to settle. Is it necessary
or desirable that it be employed with each lesson? Why
not? Isn't there a grave danger of becoming prosaically
uniform in our programs? Let us always regard each

[ii6]

LEARNING THROUGH DOING

lesson as a unit, and study how best to teach that particu-
lar lesson. Such work in the upper grades is often done
at home. Will this be the case with little children? In
your opinion, is there any unfortunate drop in following
by hand-work a story that has aroused feeling? Do you
see an advantage in using it the following Sunday in
connection with the review? Might it form an effective
approach to the story by illustrating the truth to be
taught, as, for instance, drawing things the children are
glad for, preparatory to a thanksgiving story? Suppos-
ing the blackboard instead of paper is used, is there any
opportunity for group work? State the advantages and
disadvantages of the blackboard over individual sheets
of paper.

However, the chief point to be remembered, if hand-
work is employed, is its aim — to impress the truth by self-
expression. Our goal is spiritual, and it is the meaning
of the story that makes its illustration valuable, the in-
tensified feeling that is the reason for drawing the flower
that made us glad, or coloring the apple that is given for
food, or trying to show the bird's-nest which a careful
Father teaches his birds to make.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. State the aim of hand-work.

2. Discuss some one kind of hand-work, in regard to its
effectiveness or ineffectiveness.

3. Report on "Children's Ways," chapter on "First Pencil-
ings," by James Sully.

4. Is story illustration helpful? If so, why?

5. State the points applicable to Beginners' hand-work from
"Hand-work in the Sunday school," chapter on "Illustrative
Work," by Milton S. Littlefield.

6. Give your ideas as to the method of employing hand-
work and its place in the program.

[117]

LESSON XIX

Utilizing the Play Instinct

Perhaps play is the best key to the secrets of child na-
ture. It is the spontaneous expression of those very tend-
encies which education must use. — Murray

What Is Play?

The very phrase "child labor" makes the blood of a
lover of children boil, so general is the belief in the right
of childhood to play. Yet the very same person may pro-
test against "wasting precious moments in play" in Sun-
day school. Such an one needs to have a clear
perception of what play is. That it is pleasurable is
obvious, for no normal child has to be forced to play.
That it is instinctive almost goes without saying, for is
not the whole life of a young child play? And, happily,
in these enlightened days, that anything is delightful as
well as natural gives it an educational claim.

Is play, as we are considering it, merely an outlet for
surplus activity? Some one has designated this sort of
play "fooling." Real play is a very different matter
and is to the child a serious though enjoyable thing.

Is play merely an index to new physical powers?
That it is this is evident. How a baby delights in creep-
ing and then in walking and by and by in skipping!
Often with no end or aim in view he practises his new

[ii8]

UTILIZING THE PLAY INSTINCT

achievements for pure love of using recently-acquired
powers.

Isn't play more than this? Isn't it a preparation for
life? Watch a kitten at play. How is its play an appren-
ticeship for its role of hunter ? Watch a little child feeling,
smelling, tasting and looking at the objects he plays with.
He is learning about them and how he can use them.
See how a young child delights in filling the dish on the
table with beans and then taking them all out and trans-
ferring them to the dish on the desk, and when that is
filled, happily trudging back again with them. Isn't this
good practise for the drudgery of life's tasks? Observe
the little girl's tender care for her doll. Doesn't this
bode well for motherhood?

We have spoken of the child's play as serious. It is
serious because the child, when he is "making believe" be
a horse or a motorman or a shepherd, is not acting a part
or showing off to others his dramatic ability — not at all.
He is, for the time being, actually the person or animal
represented. He is not acting but being. As far as he
can understand the feelings and actions of a horse, so far
he is a horse. It matters not whether or not he has ob-
servers, unless they so call his attention to himself that
he forsakes his play. He is wholly engaged in losing his
own personality in that of a horse.

There is nothing light or trivial about this matter of
becoming another creature. It is a child's first step out
of himself. Through his play he is learning to under-
stand and therefore appreciate another's feelings and in-
dividuality, even though that other be as simple a form
of life as a butterfly. It is good for a boy to stop being
a boy awhile and become a butterfly, so that he may begin

[119]

LESSONS FOR TEACHERS OF BEGINNERS

to get out of his egoism by realizing a butterfly's as well
as a boy's point of view.

Play is the great instinctive expression of childhood.
James Sully says, "Play is the working out in visible
shape of an inner fancy." Elsewhere it has been said,
"The child's pleasurable response to his environment in
his play" — play leading to an understanding of that en-
vironment.

Ideal of Education

Impressed with this idea of play, the modern educator
seizes it, as he seizes all vital instincts, as a means to his
end — the development of the child. Froebel, more than
any educator, realized the value of play, and utilized it
in his system of education. His remarkable "Mother
Play" analyzes and arranges the mother's natural early
plays with a young child as a basis for the kindergarten.

Some one has gone so far as to say, "Education should
be play, organized to prepare for complete living." I won-
der if you get the full force of such a statement, in the
face of the traditional idea that duty is a synonym for joy-
lessness and that education means unpleasant tasks done
possibly cheerfully but never by any chance gladly. Isn't
the time at hand when the school boy no longer whines, or
creeps "like a snail unwillingly to school," when work is
play and instincts proper educational material ?

But do some of you feel that we are in
danger of sending spineless children out Into the world?
Isn't there something In the old Idea of forcing oneself
to study a distasteful subject simply to demonstrate one's
power of overcoming? Let us think of this for a mo-
ment. There must be a certain amount of detail work,

[ 120]

UTILIZING THE PLAY INSTINCT

so-called drudgery, in order to accomplish any task. To
a genius, absorbed as he is in his work and in love with it,
even this is done joyously, for the sake of the goal. And
without doubt work so done is best ilone.

Then, too, a boy will perform hardships and monoto-
nous tasks in play with ease and delight, which if de-
manded of him as work would be grudgingly executed.
If by any means the element of joyousness can be infused
into that which educates him, think of the gain in the
quality of work done! It is still work, there are hard
tasks to be performed, but the pleasure in doing them acts
as a wonderful incentive. "In planning our school sys-
tems we have snubbed nature," says Mr. Johnson, in his
"Education by Plays and Games." The tendency now is
to take nature into the closest confidence; no, rather, to
sit at her feet and learn of her and be, as educators,
merely her allies.

The Play Spirit in Sunday School

And now to return to our original reason for discussing
the whole question — is there a place for this instinct in
Sunday school, or do the desired atmosphere of reverence
and the nature of the subjects of thought make this out
of the question? A child may sing and pray and
question and talk and even move about freely, we have
conceded. May he ever play? Certainly he should not
play in the sense of fooling, nor will it be often desirable
to introduce movements that have behind them no
thought. But, if we banish legitimate play, we run into
the greatest danger of opening the door to the play that
is mere mischief. And do we not deny the child a very
effective means of education by excluding from our

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LESSONS FOR TEACHERS OF BEGINNERS

Sunday-school session the kind of play we have discussed?

We spoke, while studying story-telling, of the interest
children take in acting out at home some of the stories
they hear, and concluded that "playing" an occasional
story which lends itself to this method of reproduction
makes it more vivid. Tell me again your feeling about
the sort of stories we would choose for this. Do the chil-
dren ever spontaneously use gesture as they retell the
stories ?

The play spirit may be utilized more frequently in the
little physical exercises that are very necessary in relieving
a cramped position and in insuring attentioiv to the story
that is to come. When such exercises have a thought
behind they are real play and an important part of the
hour. These are usually the impersonation of some ob-
ject of nature, and a child through such simple play gains
a vivid impression of many a truth we have tried to teach
through story, song and conversation.

He is a garden flower, drooping for lack of rain, and
when the refreshing drops come pattering down, he
slowly and gladly raises his head and stretches out his
leaves. He is the windmill turned by the wind or the
tree shaken by it, and so feels its strength and mystery.
He is an evergreen tree sheltering winter birds, or a fruit
tree whose branches are heavily laden. He becomes one
of the drops of water that form the stream, and will tell
you what favorite animal or flower or bird he is giving a
drink. Here is a brooding mother-bird, with tenderness
in every motion. There is a swaying flower, its sweet
face upheld to the sun that gives it life. Quite naturally
the explanatory Bible verse or song is used in connection
with the exercise, and no one who has seen the eager in-

[ 122 ]

UTILIZING THE PLAY INSTINCT

terest with which a child enters into this play can ques-
tion its fitting place in the Sunday school. And in
the little child there is a lack of self-consciousness that
makes it very real.

This same play impulse may be seized upon in making
the circle talk varied and animated. The children find it
wearisome to always tell how they help at home, but de-
lightful to show this in pantomime and have the other chil-
dren guess what they mean. So often, anyway, things
will be shown by children who cannot be induced to talk.
This delight in guessing may be still further employed by
keeping the drawings the children make a mystery, till
guessed by the others, or possibly letting them whisper
to you the drawing they wish you to make, the rest
guessing what it is. In the case of drawings possibly as
much of the imaginary element is necessary as that used
in transforming a stick into a doll! The sense of mys-
tery is appealed to also by asking the children to close
their eyes and when they open them to see who is standing
by a certain picture. Impersonation is used in the
motion songs and in finger plays. Indeed, the very choos-
ing of songs, as we have said, need not be mechanical, but
can be made interesting through the play spirit.

And let us not be blind to what "make-believe" is in its
final development. Ideals are formed by this won-
derful power of picturing ourselves other than we are.
Sympathy is engendered by impersonating others. Faith
— the belief in the unseen — has its root in this serious,
educative, alluring instinct of play.

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LESSONS FOR TEACHERS OF BEGINNERS

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Give what you consider the best definition of play.

2. Show how play is a serious thing to a child.

3. Compare old and new ideas of the possibility of educa-
tion being pleasurable.

4. Report on the chapter on "The Moral Value of Playing
with Dolls," in "Child Nature and Child Nurture," by Edward
P. St. John.

5. Review "Education by Plays and Games," by George
Ellsworth Johnson, chapter on "Play in Education."

6. Mention various ways in which the play* instinct may be
utilized in Sunday school.

[124]

LESSON XX

Our Surroundings

The conception of the universe which we gain in child-
hood is never wholly changed by later impressions; and
he who has early absorbed the idea that the world holds
nothing but what is dark and dingy, ugly, ungraceful and
sordid, will sink his mental and moral ideals to the same
level. — Kate Douglas Wig gin

Are They Important?

There was once a private kindergarten whose appoint-
ments were almost ideal. A low-studded, homelike room
finished in light wood looked out through many windows
upon a grove of oaks, where in spring and fall birds sang
and in winter squirrels played. A few good pictures
hung low on the soft-tinted walls, and sun and air had free
access. Yet the children of wealthy families that at-
tended showed little interest or spontaneity. In the
heart of the congested section of a near-by city a kinder-
garten was held in two rooms of a plain tenement. The
few windows were high and small. There was no system
of ventilation except through raising these windows. The
rooms were neat and the most possible had been done to
overcome their disadvantages, yet even so the surroundings
were anything but ideal. Yet the children of the poor
found here delight and freedom for natural development.
In spite of environment the better work was done here,

[ 125 ]

LESSONS FOR TEACHERS OF BEGINNERS

for the great difference lay not so much in the class of
children as in the personalities and ideals of the kinder-
gartners.

Shall we, then, conclude that our surroundings are of
little account? Compared to a teacher's personality they
certainly are. But consider, if a teacher has such person-
ality and power that she can be inspiring under poor con-
ditions, how much more might she be capable of, if her
environment was a help instead of a hindrance.

The influence of surroundings is subtle and often in-
definable. Think back to your own childhood and you
will feel again the spell of the moods certain places in-
duced in you. Describe to me some such places and the
kind of feeling they still arouse in retrospect. Did you
ever speak of it in your childhood ? Did you then realize
that these places were accountable for your feelings,
pleasurable or otherwise? The chances are that you un-
consciously sought or avoided them, and that it was only
later you understood the reason for doing so. Walt
Whitman finely expresses this susceptibility to environ-
ment:

"There was a child went forth every day,

And the first object that he looked upon, that object he became,
And that object became part of him for the day or a certain

part of the day,
Or for many years or stretching cycles of years.
The early lilacs became part of this child,
And grass, and white and red morning glories, and white and

red clover, and the song of the phoebe bird."

So we need not argue that because children many times
appear unobservant of their surroundings or indifferent
to them, they are not important. We are seldom aware
of the air we breathe, but it permeates our whole nature
for good or evil. Perhaps an unconscious absorbing of

[126]

OUR SURROUNDINGS

his surroundings is the best description of the child's at-
titude. Neither, as we said before, can we be greatly
influenced by good results under poor conditions. And,
anyway, good and bad are comparative terms, and what
some might call poor would be to others good sur-
roundings.

Ideal Environment

A good garden is a place where flowers grow well,
and Froebel was certainly inspired when he originated
the name "kindergarten." The environment in which
children will best develop is clearly the ideal environ-
ment. We have come to the conclusion that normal
growth necessitates freedom. Where is a little child
most free? Of course at home. What, then, will be the
test of our ideal environment? Will it not be home-
likeness? This may seem to some of us discouraging,
for visions arise of church pews fringed with little dan-
gling legs ; of high-studded chapels with the light strained
and colored by stained glass windows; of damp cellars,
w^here unsightly furnaces glow in winter and where
clammy coolness is the summer atmosphere. And yet
apparently impossible conditions can be at least alleviated
and more often banished than a faint heart dares hope.

Let us first picture the surroundings we would like to
have, and then try to solve particular problems. Our
ideal room will of course be only for the Beginners, and
on the ground floor. We surely will agree that one of
the conditions necessary to plant growth is necessary to the
well-being and pleasure of children. What is this? If
we can get into our Beginners' room sunshine, or at least
light and fresh air, we shall have gone a long way to-

[127]

LESSONS FOR TEACHERS OF BEGINNERS

ward producing a homelike feeling. Gloom and darkness
tend to make a little child lonely and afraid, and stale ail
is deadening.

In this ideal room would you have the ceiling far
above the heads of the little people, or would you prefer
a low-studded room? Which is more homelike?
Should the room be much larger than the circle of chairs?
What additional space is needed? There must be an
inconspicuous place for visitors, but otherwise the walls
ought to be as near the children as possible. Far-away
walls and pictures never really form a part of the little
child's environment, which is composed, like his ideas, of
things close at hand.

What should be the general effect of the walls? A
good background for pictures is certainly needed, and light
woodwork and dainty walls are pleasing to children. A
burlap dado is a very convenient place for fastening story
pictures which need to be frequently changed, and has
the added advantage of bringing them within sight and
touch. The whole question of pictures, however, was
discussed in a recent lesson. A low blackboard painted
upon the wall is not a disfigurement, although a movable
blackboard may be preferred. Is a bare floor best? How
is a rug a help to order? Will rubber tips on the chairs
accomplish the same thing?

Many of us, already established in rooms far from this
ideal, may by this time feel discouraged, but we wnll pass
now to the question of furniture, in which there are possi-
bilities for us all. Assuredly the most essential furniture
is seats of some sort. What advantages have chairs over
settees? Of what height should such chairs be? Is it
wise to have some shorter than others? Is a musical

[128]

OUR SURROUNDINGS

instrument necessary? Do little children sing better
with a piano or an organ? State advantages or disad-
vantages of tables. Even though, for the simple hand-
U'ork done in the brief time at your disposal, you prefer
that the children shall use the seats of the chairs, doesn't
every teacher need a low table, where flowers, objects of
nature brought in by the children, the papers for the day
and pictures can be placed? A cabinet for supplies is
also a great convenience, and if made to order can be of
the right size for the pictures, papers, drawing materials,
song books, and whatever else may constitute the material.
Some place for disposing of the wraps prevents a dis-
orderly appearance of the room. Where a closet is not
available, a light rack or hooks on the wall in an incon-
spicuous place form good substitutes. Possibly the only
additional necessity, except seats for the visitors, is a
screen, placed before the door, so that late comers may
remove their wraps without disturbing the class.

Many modern kindergarten rooms furnish good models
for an ideal Beginners' room — light, sunny, homelike and
attractive, and any one who is planning a parish house
or special Sunday-school building would better examine
such rooms.

Our Problems

For the great majority of us the ideal environment is
not immediately possible. Our problem is as near an
approach to that ideal as can be managed. So let each
of us present her problem and we will help solve one an-
other's.'

* While a text-book cannot solve local problems, and while
suggestions are expected from the class, a few possible solu-
tions are given.

[ 129]

LESSONS FOR TEACHERS OF BEGINNERS

The first requisite of an ideal environment we decided
to be a room alone on the ground floor. How many
have that? Isn't there some room you can have?
Possibly you can make use of a room in. a near-by pri-
vate house. Where the room must be shared with the
primary children, curtains or screens may be utilized.
These may form temporary walls for hanging pictures.
If your place of meeting is the one church room, at least
choose a cosy corner, separated by screens, the frame-
work of which may be cheaply made by a local carpenter,
and stained and covered by you. Even if church pews
must be the seats, there can be footstools to support short
legs.

Do any of you fail in having light and fresh air? I
know a teacher who had a stained glass window changed
for one of plain glass. Occasionally a new window may
be cut. Narrow boards under the windows allow fresh
air to enter between the sashes, and a room that is well-
aired before the session will not become very close during
the hour. Often in warm weather the class may meet on
the church lawn where there is no lack of light and air.

Is your problem one of the size of the room? A small
room cannot be stretched to suit, but it can be emptied
of all unessential furniture, and the circle, or, better, the
incomplete circle, including a bit of the wall where hang
the pictures, can be arranged to make the most of the avail-
able space. A large, unhomelike room, on the contrary,
can be given a cosy effect by means of screens, shutting
ofE some of the unnecessary space.

There is little excuse for any of us not Improving the
appearance of the walls. Dingy or dark walls may be
tinted, and woodwork painted white at slight expense

[130]

OUR SURROUNDINGS

and surely not to the detriment of the room for other
uses. A burlap dado may often be added. An ordinary
bare floor may be painted some shade harmonizing with
the wall coloring, and an ugly carpet covered with a rug.
As to the furniture, it is possible to cut off the legs of
high chairs, if low ones cannot be procured, and hooks
for wraps and shelves painted white for supplies cost
little. A musical instrument is the greatest expense, and
if a good one cannot be obtained, it is better to sing with-
out, if 5^ou or an assistant can carry the tune.

How tO/Get Ideal Surroundings

We Sunday-school teachers often say, with a virtuous
air, "We must be patient with our surroundings." But,
after all, isn't patience sometimes the excuse of an indo-
lent nature? It is the dissatisfied teacher who insists on
better conditions — and gets them. "Where there's a will
there's a way" is a pretty good working motto.

The first step is to awaken the interest of the church
people. Invite the prudential committee to visit the
department and while they are fascinated with the chil-
dren, point out the defects in your room. Most prudential
committees are not as unapproachable as one imagines,
and the appeal of an enthusiastic teacher is gladly met.

However, the people most interested should be the
parents of the children, and they will be if they realize
the importance of the work that is being done. Parents
who visit the class Sunday after Sunday will be as eager
as the teacher to enhance the beauty of the room, and will
usually be ready to contribute money or get up entertain-
ments or solicit among friends for this cause. The par-
ents of a certain Sunday school raised money in this way

1 131 ]

LESSONS FOR TEACHERS OF BEGINNERS

for a piano, at Christmas the mothers gave a curtain for
the window, a father had a rack made for wraps, and
some permanent pictures w^ere given by parents whose
children belonged to the department or in memory of
those who had died. Still another way of getting funds
is through a double offering, any additional money
brought by the children being used "to make our room
beautiful."

At any rate remember this — a good environment means
that we as teachers have the right ideal and the enthusi-
asm that is better than patience, because we are willing to
work and to inspire others to work for the good of the
children.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. State your idea of the importance of a child's environ-
ment.

2. What are the general characteristics of ideal Sunday-
school surroundings for little children?

3. Do you find any suggestions in "Kindergarten Principles
and Practise," by Wiggin and Smith, chapter on "The School
of Speusippus"?

4. Describe an ideal Beginners' room, when one can plan
the building and buy the furnishings.

5. Describe your own surroundings and suggest how they
might be improved.

6. Give some practical methods of making possible good
surroundings.

[132]

LESSON XXI

Making the Machinery Run Smoothly

Whatever is worth doing at all is worth doing well, — '
Earl of Chesterfield

Importance of Organization

In our course of lessons we have proceeded quite oppo-
sitely to many people's idea of proper progression. We
began by studying the child, then endeavored to find out
the kind of religion that would fit his needs, criticised
existing curricula, discussed at length the various teach-
ing methods which would be most effective, and have only
toward the end come to the subjects of equipment and
organization which are commonly considered first. For
are not organization and equipment merely means to an
end? And if the importance of that end be not thor-
oughly appreciated, of what possible use are the very finest
surroundings and provisions? To actually do something
with little organization and under poor conditions is far
better than to organize amid ideal surroundings with no
conception of the reason for so doing.

In our last lesson we contrasted two kindergartens,
to the disparagement of that having the more ideal envi-
ronment. I have seen Beginners' departments, in which
every detail was carefully arranged, and yet where the
atmosphere was so lacking in spirituality and the teach-

[133]

LESSONS FOR TEACHERS OF BEGINNERS

ing in force that I could not help querying, "Was it all
worth such perfect machinery?" I have, on the other
hand, seen really inspired teaching done in departments
where there were unnecessary interruptions, a lack of
records, and general hit-or-miss management, and I have
wondered, "Wasn't it worth better machinery?"

The Teaching Force

We do need some machinery, in order to do the most
effective work, and yet we want this machinery to run
very, very smoothly, or otherwise we shall destroy the
homelike atmosphere so essential to the Beginners' depart-
ment. For after all it is just a company of tiny children
we have gotten together for story-telling and to sing
and talk, and it would be absurd to build up about
such a group an elaborate and formal organization.
The machinery that must run smoothly should also
be invisible. In other words, let us minimize red
tape.

Suppose we at first decide what adults are needed in
this department. Will this depend something upon its
size? Do you consider one teacher sufficient for a small
class of ten or twelve children? WHiat reason would
there be for an assistant ? No matter how small the class
there will be some interruptions from late comers and the
secretary's or treasurer's visit, and it is difficult to lead
in singing when one plays as well. However, some
arrangement should be made whereby the collection and
record of attendance can be taken without any interrup-
tion, a tactful teacher can remove wraps while continu-
ing the session, and a small group can gather about the
piano to sing. So it is possible for one teacher to fill

[134]

MAKING THE MACHINERY RUN

the office of superintendent, pianist, secretary and assist-
ant.

In a large school there should be at least one assistant,
who will fulfil all the duties apart from the actual teach-
ing. Her chief qualification, in addition to lave of chil-
dren, should be musical ability. The rest of her work
should be done unostentatiously, with the thought always
foremost of protecting the class from interruptions.

Do you think that a department of fifty or over needs
more assistants? Is a secretary essential? If so, what
should be her duties? Certainly there should be some
records kept, such as the name of each child, his birthday,
the date of his entering the department and his parents'
address. The attendance needs also to be recorded in
some simple, accurate way. What system have you found
best? Would you take the time for a roll-call every
Sunday? Isn't it natural to occasionally speak of ab-
sent children? Doesn't it increase the feeling that the
class is a big family, any member of which is missed when
away? Shouldn't the record of absentees accomplish
more than this? Mailing the child's folder to him gives
him not alone a delightful feeling of being looked after,
but makes it possible for him to hear the story he has
missed. Much better is the paper delivered by a teacher.
Some large departments divide the children among a
number of assistants, who call upon those absent from
their group, or find out in some way the reason for non-
attendance.

In a very large school a number of assistants can be
used in this way, to aid in taking off and putting on
WTaps, and to sit in the circle with the children, helping
in the singing, in extricating pennies from minute purses

[135]

LESSONS FOR TEACHERS OF BEGINNERS

or hard knots in handkerchiefs, and perhaps holding a
young child during the story period. Such assistants,
however, need to be unobtrusive, lest they hinder more
than help. A teacher does not wish whispered colloquies
between her assistants and children, nor should adult
voices predominate in the singing.

Another important duty for somebody is to have charge
of the supplies, seeing that they are in order and that
everything needed in the way of folders, story papers, pic-
tures, crayons and drawing paper is at hand. This
usually means that the room should be visited sometime
before the session. Where the class is held in the morn-
ing or afternoon, at least one teacher should be there soon
enough to greet early-comers and provide something for
them to do, either in getting the room ready or examin-
ing pictures or possibly engaging in some preparatory
hand-work.

Other Arrangements

The foregoing plans are made for a department meet-
ing in a room alone and taught as a single circle.
What officers may be eliminated when it seems necessary
for the Beginners' and Primary departments to meet to-
gether? Is this an ideal arrangement? What are the
arguments for and against dividing into two or more
circles? What further requisites will it make essential
in the assistants? Certainly the same story will be told
to all, even though by different teachers, or the circle
talk is an impossibility. Is there usually one person, even
when a number form the teaching corps, w^ho tells stories
particularly well? It seems to me a pity for any one of
the children to miss the inspiration of a finely-told story.

[136]

MAKING THE MACHINERY RUN

Do you find there is a certain enthusiasm that
comes from numbers, and that one child's expression of
thought in the circle talk stimulates another? Or do you
feel that the shy children will only express themselves in
a small group? These questions must decide for each of
those who have large departments which is the better
method. The argument that if the teaching is done by
one person the assistants have nothing to do is absurd,
for besides the duties that have been outlined, there are
the visitors to be welcomed and quietly seated, the ventila-
tion to be attended to, and various other helpful things
apparent to one tactful and observant. Then, too, a
teacher will sometimes let an assistant take charge of the
circle talk or tell the story in her place. Young assist-
ants will find this very valuable practise, if the teacher
will criticize them afterwards.

The Cradle Roll and School Finances

But of whom are our Beginners' departments formed?
In a well-organized Sunday school there is a record kept
of the babies who will come to Sunday school when old
enough — a kind of waiting-list, called the Cradle Roll.
The superintendent of the Cradle Roll may be the one
teacher of the Beginners' department, an assistant, or a
mother of one of the children. Her duties are to add new
babies to the list and notify the parents when their chil-
dren have reached the proper age to be enrolled in the
Beginners' department — usually at four years, sometimes
a trifle younger. What other duties will such a super-
intendent have in connection with the babies' birthdays?
Christmas? Is a Cradle Roll party ever advisable?

Another question is that of finance. It costs something

[137]

LESSONS FOR TEACHERS OF BEGINNERS

for the regular supplies of the Beginners' department as
well as for the room furnishings we have discussed. How
are these expenses met in your school ? Is there a special
apportionment for the Beginners' department, or are the
school finances managed as a whole? State the advan-
tages in your mind of having the Sunday school supported
by the church.

Teacher Training

One other phase of organization needs to be spoken
of, and that Is teacher training. There should be some
plan for keeping present teachers up to their best and for
training future teachers. Have you any such provision?

The teachers may belong to a city union, and gain help
from Beginners' teachers of other Sunday schools, taking
up some such course as this, especially adapted to teachers
of little children. Such is the most Ideal kind of organi-
zation, as numbers usually stimulate thought and many
viewpoints broaden the outlook. Next best Is a teacher-
training class composed of the teachers of one Sunday
school, taking up a more comprehensive course, such as
child study extending over more years or Bible study.
There can, again, be teachers' meetings, where the teach-
ers talk over general matters and particular children.
However, such meetings can usually Include a little defi-
nite study, and are certainly vastly more helpful if they
do so.

As to future teachers, they may be members of a pre-
paratory training class, and observe and at the same time
assist In the Beginners' department, or, If there Is no such
class, they may meet with the teachers already teaching.
Such future teachers may, as they advance in their course,

[138]

MAKING THE IMACHINERY RUN

occasionally tell the story or conduct the circle talk, al-
ways under supervision and with criticism afterwards.
Visiting other Beginners' departments and day kinder-
gartens, attending summer schools, institutes and con-
ventions are all helpful.

Perhaps some of you may think that an entire lesson
on organization hardly tallies with the opening remarks
in regard to doing away with red tape. But the sugges-
tions that have been made, If carried out, will not de-
tract at all from the freedom or homellkeness of the
department, but make it possible to keep track of the
family of children whom we see only once a week, and
accomplish the most possible in the short hour that is ours
together.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. How important do you consider the organization of a
Beginners' department?

2. Give your idea of the number of teachers necessary in
large and small departments and their duties.

3. Do you think the best arrangement for teaching a Begin-
ners' department a circle or several small groups?

4. Explain the function of the Cradle Roll.

5. Give your ideas as to the best method of financing the
Beginners' department.

6. What further teacher training do you feel necessary
and possible for yourself?

[139]

LESSON XXII

Home Cooperation

To and fro, between home and school, the children go,
blessed little messengers of good luill; and when the kin*
dergartner comes to see the mother, or the mother to ad'
vise with the kindergartner, they are not strangers,
though they may never have met before. — Nora Archi-
bald Smith

Relation of Home and Sunday School

It is a far cry back to the old days when the home was
the center of the child's education. We have not reached
the Spartan ideal of giving over our children entirely to
the state, but we are approaching it, as regards education,
not only secular but religious. The ordinary mother
feels incompetent to teach her children according to
modern methods, and puts them in charge of trained
teachers. So, too, many mothers trust their children's
religious nurture to the Sunday school.

Isn't it your experience that mothers read the Bible
to their children or tell Bible stories less commonly than
once? How many parents do you know who have a
well-thought-out scheme of religious education for their
children, which they attempt to promulgate? Do most
of the parents of your children know just what religious
teaching they are getting in Sunday school? Did you

[140]

HOME COOPERATION

ever hear of parents who refused to send their children
to a Sunday school because the teaching did not coincide
with their views, preferring to teach them at home ? How
do such parents compare In your estimation with those
who neither know nor care what their children are
taught ?

Much as we may regret any lapse In home religious
teaching, we can see the advantage of children meeting
together In Sunday school and receiving instruction ac-
cording to approved methods. And this need not in the
least detract from the importance of the home teaching.
Is there anything we, as teachers, long for more than
home cooperation? Is there any greater help we can
have than parents pledged to carry on the same teaching
that we give in the Sunday school? The home and the
Sunday school supplementing each other, working to-
gether, as neither institution can work alone, the Sunday
school giving the children the Impetus and Inspira-
tion that an outside influence does give, combined with
the Incomparable nurture and encouragement of the home
— this is our ideal.

Ideal Home Help

An institute speaker once concluded an ardent plea
for home cooperation, when the pastor of the church
asked, in a convinced but puzzled voice, "Exactly what
do Sunday-school teachers wish the mothers to do?" So
let us be practical and instead of prating generalities
mention specific ways in which home help may be given.

The prevailing idea, with both parents and teachers,
is that home cooperation means assisting or compelling
the children to learn their lessons. The pupil who

[141]

LESSONS FOR TEACHERS OF BEGINNERS

comes to Sunday school able to recite perfectly the mem-
ory verse and to tell every detail of the story is commonly
considered to have had the best of home help. In the
upper grades, too, those pupils who do w^ell the so-called
"home vv^ork" of writing in note-books, pasting pictures,
looking up facts, and the like, are regarded as being care-
fully kept to their duties by their parents. Is this the
sort of help we desire from the mothers of our little
children? Shall we expect any of this type of home work
from them?

Surely any hand-work will be done during the class
session. Such simple home work as looking up
pictures of flowers, birds, Christmas or Thanksgiving
pictures is liable to be forgotten by our children, unless
special word is sent to their mothers in regard to it. It
is more natural for a child to bring in flowers or leaves
or shells or pine-cones as gifts for his teacher without
being asked, and such objects of nature can be made a
very real part of the lesson, by being traced to the Creator
of all beauty.

We, of course, do want the stories reread or retold.
Telling the Bible story with other favorites at the bed-
time story hour helps the children to regard it as some-
thing quite different from a lesson to be learned. We
also want the Bible verses used at home. The word
"used" is employed advisedly. This is not the age for
strict memory work, and the sympathetic repetition of
the Bible verse, after the story is told, or as a comment
on the story picture, and also in connection with any ob-
ject or event of every day, is a kind of home help that
infuses life into it.

It is this connection of our Sunday-school teaching

[ 142 ]

HOME COOPERATION

with the children's home life that is the real cooperation
we want. We simply try to interpret the life the child
actually lives, and if at home the teaching is carried on
and illustrated by the home experiences, then, indeed, we
may hope to accomplish great things. The folders of the
International Graded Beginners' Course, issued by a syn-
dicate, contain suggestions for such specific help in the
home, called "The Mother's Part."

Specific Snggestions

As is often said, we learn only through experience, and
education is merely arranging a set of experiences for
children, which will expedite the acquiring of knowledge.
Our Sunday-school teaching must be largely theoretical,
and it certainly needs the practical home occurrences in
order to be really effective.

Suppose, for instance, the story is about David and his
sheep, told to bring out the lesson of tender care for
God's creatures. The mother's part, in this case, is not
so much to see that the child knows every detail of the
story as to encourage him to carry out its teaching — to
hold him responsible for feeding the cat or dog, to sug-
gest saving crumbs from his meals for the birds, to avoid
killing or injuring harmless insects. When there is a
series of stories on obedience, there is a chance to create
many opportunities for its exercise at home. When there
is one on helpfulness, the mother who knows this sees
that there are plenty of chances to help at home, and
takes special pains to appreciate any voluntary offer of
assistance.

The heavenly Father's care is recognized in common
comforts, which are made a subject of the evening prayer.

[143]

LESSONS FOR TEACHERS OF BEGINNERS

Indeed, this petition often is influenced by the nature oi
the Sunday-school lessons. Sunday-school songs arc sung at
home, not merely to be learned, but for the love of sing-
ing and for the connection they have w^ith home life.
Thus, as children of this age have so few^ interests, if
home and Sunday school consider the same subjects, think
of the impression made!

How to Accomplish This

Who is to blame for a lack of this ideal cooperation ? We
teachers are apt to say the parents. Is it not largely,
however, our ow^n fault? How^ many of you call at the
homes of the children ? ask the mothers to visit the class ?
give any parties or gatherings to which the mothers are
invited? hold mothers' meetings or form mothers' clubs?
take any pains to interest the parents in the lessons? ask
their advice in regard to Sunday-school matters? solicit
their aid in getting up programs for special days or in
making the room more attractive? In most cases the lack
of cooperation is simply a failure to get together, for
where this is accomplished it is easy to work for a com-
mon end.

We teachers need to know the mothers so as to know
our children. They can help us inestimably in explain-
ing one child's shyness, or another's apparent obstinacy,
or the failure of a third to comprehend. They need to
visit our classes occasionally, to understand what we are
trying to do. Is there any objection in your mind to this?
Surely mothers are a help when they are in sympathy
with us, and are willing to leave the management of the
children entirely in our hands, and listen to their quaint
remarks without comment.

[ 144]

HOME COOPERATION

No teacher need feel too young or inexperienced to or-
ganize a mothers' cluh or to hold mothers' meetings.
The mothers will understand that she is simply the leader
of the meeting, and not in any sense a lecturer on the way
they should bring up their children! How have you
found such a club most helpful ? An excellent beginning
is to make a study of the course of lessons you are teach-
ing and get the mothers to tell what response the chil-
dren make at home. A book on child study may be
taken up and studied together. Perhaps as good a book
as there is for this purpose is "Child Nature and Child
Nurture," by Edward Porter St. John, in which subjects
like **The Meaning of the Child's Fears" and "Training
the Child to Love" are discussed. In discussions of such
vital topics much help is gained by all.

Whatever means are used, we teachers must in some
way get into contact with the mothers of our children,
that their religious education may not be incomplete, but
that it may enter into every event, every relationship and
every circumstance that touches them.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. Compare the place of the home in old and in modern
educational schemes.

2. What home work, if any, is possible for little children?

3. What diflFercnt ideal for home work have you than the
mere learning of a lesson and of Scripture?

4. Mention some special Bible story, tell why it is told, and
what can be done at home to make it more effective.

5. What means do you regard as most effective in leading
to home cooperation?

6. Make out a program for an ideal mothers' meeting.

[145]

LESSON XXIII

Festival Days

In the nature of things there must he holidays. How
poverty-stricken is that soul which does not recognize
this tendency and throw itself heartily into the work of
helping forward the good time youth and unspoiled
minds accept with gratitude! — Florence Hull Winter-
burn

Are Festivals Important?

Festival days are the delight of many teachers and the
bugbear of others. There are teachers who seem to
regard the Sunday-school curriculum as a series of "con-
certs," connected by drills and rehearsals, and consider
a good year's w^ork accomplished if their children appear
well at these public performances. No sooner is Rally
Day over than plans are laid and songs rehearsed for
Christmas; the Christmas tree is scarcely turned brown
when Easter recitations are given out; nor are Easter
lilies faded before Children's Day drill has commenced.
On the other hand, those teachers who consider public
appearances a positive harm to little children and drill
in songs and recitations in no sense a part of their
religious education, dread instead of anticipate festival
days, or refuse to allow their children to appear publicly
then. These are the two extremes. Is there any inter-

[146]

FESTIVAL DAYS

mediate position, or must we all take sides for or against
the observance of special days? Discuss frankly your
own feeling.

We should first consider the importance of festival
days in little children's lives. A^^at day of all the year
should you say is dearest to them? Next to Christmas
doesn't Thanksgiving hold the most important place?
Is Easter a little child's festival? Children's Day w^as
inaugurated for little as well as older children, and Rally
Day usually means at the present time Promotion Day,
in which even the Beginners' grade has a part. The
courses of study for little children take into consideration
the importance of special days in their lives; indeed, they
are largely based upon special days and seasons, preced-
ing Thanksgiving with lessons on God's care, thus lead-
ing up to a spirit of thankfulness; explaining Christmas
by stories of the Child Jesus; and letting Easter teach
its lesson of continuous life. Do you consider this suffi-
cient observance of these days, or do you wish some more
public recognition?

Those who argue on the side of public observance
claim that the children's interest is retained by this means,
that the Sunday school is brought to people's attention,
and that parents are pleased by their children's perform-
ances. The importance of the interest and cooperation
of parents was considered in the last lesson. How many
of you think that public performances are essential to
this interest? May they arouse enthusiasm in some
parents who would otherv/ise be indifferent? Might
parents be enthusiastic over their children's public appear-
ance who have no conception of the importance of their
religious education? Is there something in the argument

[147]

LESSONS FOR TEACHERS OF BEGINNERS

that the Sunday school needs attention called to it? Do
you consider it legitimate to advertise such an institution?
Isn't there a certain value in making people realize that
the Sunday school is accomplishing something?

The first consideration must always be the effect upon
the children. Have you seen any disastrous effects from
public celebration of special days upon shy children? for-
w^ard children? Would you, therefore, banish every-
thing of the sort and confine the festival observances to
the children's own lesson in their own room? Would
you under any circumstances advise substituting such ex-
ercises for the regular lesson?

If these festivals are valuable for little children, any-
thing that helps them to feel the spirit of the day is im-
portant. Is this done more surely through the regular
lessons or through general exercises? If a public cele-
bration ever occurs, would you, then, insist upon its be-
ing at a different hour from the Sunday-school session?
May it be true that the character and manner of pre-
paring for and conducting such celebrations determine
their benefit or harm?

Different Types of Services

Suppose we talk about different types of services for
special days. And right here it may be said that there
is a distinction in the very titles, exercise and service.
There is the exercise whose purpose is to exhibit the
children. It is most truly an "exercise," for it taxes
them to their utmost ability and requires much rehearsal
and drill. The aim of those who "get up" such an exer-
cise, and it is quite frankly and laboriously planned for
and worked over, is to make a good impression upon the

[148]

FESTIVAL DAYS

audience. The reward they covet is the comment, "How
well the children did! You are to be congratulated
that you have drilled them so patiently." Fond parents
hear with delight enconiums upon their children's powers,
or, if they have failed to achieve anything noteworthy in
recitation or song, upon their general attractiveness, their
good looks or their clothes. The material used for this
type of exercise is commonly of ephemeral value. The
emphasis is laid upon the perfect rendering of the songs
and poems rather than the thought in them. Children
so drilled recite their ''pieces" at home or sing the songs
for the edification of visitors. Is the effect upon the
children educational ? helpful in inspiring the spirit of the
season? Doesn't it create a desire to show off?

There is another type of service which is a sort of
review of the work done in Sunday school. The children
recite the Bible verses they have learned and the songs
they know, and perhaps even retell some of the stories,
with the teacher's assistance. It can be made a mere ex-
ercise, in which the children show what they know, or it
may be a real service of song and verse. This depends
almost entirely upon the teacher's attitude and her man-
ner of conducting the rehearsals. Each rehearsal should
partake more of the nature of a service than a drill, and
more said about the words spoken or sung than the way
in which they are given.

On Children's Day and Rally or Promotion Day the
little children's part should always be something they are
familiar with, in order to be a real service. A combination
of song and Bible verse similar to what they are accus-
tomed to in the circle talk will make the public perform-
ance seem like Sunday school, and the children will

[ 149]

LESSONS FOR TEACHERS OF BEGINNERS

appear natural and not be self-conscious. If the Children's
Day service comes in the morning, they can be told that
instead of the minister reading from the Bible, they are
to repeat the Bible verses they know about the heavenly
Father, Jesus, the children's Friend, etc., and that they are
to sing some of their songs to God, just as the choir
usually sings. The calling of each child's name by the
teacher, as it is time for his verse, brings about a homelike
feeling. But what of the child who makes an amusing mis-
take, or refuses to take his part ? We know only too well
the ripple of laughter which passes over an audience at
such an occurrence, the flushed face or tears of the shy
child, and the proud smile of the child who likes to at-
tract attention. Can an audience be made to realize the
importance of their reception of the children's part in the
service? On certain Children's Day programs was
printed the following note:

"The children consider this a service and not a per-
formance, and the congregation is requested to help them
in this worshipful attitude."

Have you any better plan for making the older people
understand the need of care on their part?

Easter, Thanksgiving and Christmas

As for Easter, this hardly seems a festival in which
little children should take a public part, as they cannot in
the least comprehend the teaching of that day for older
ones. Is this your view?

Happily, few of us have acquired the habit of a
Thanksgiving concert, as this festival comes too near
Christmas to make it either necessary or practical in the
eyes of those bent upon advertising the Sunday school

[150]

FESTIVAL DAYS

and affording the children a chance to make themselves
prominent.

As to Christmas, what is the great peril for our chil-
dren at this season? Is it not over-excitement? And
shall we increase that tendency by public performances,
where there are "pieces" to be remembered and much
practising to be done? Shall we not rather keep the
celebration very simple, insist upon a Christmas lesson
in their own room, to which parents may be invited, and
where there may be special decorations and the right
Christmas spirit? Don't you think this the best Christ-
mas Sunday observance for our children? How many of
your Sunday schools have also a Christmas tree or a Christ-
mas party? Do you have the little ones by themselves,
or do all meet together? If 5'ou meet alone, need there
be anything but the tree, with perhaps some old songs
and a story? If the Sunday school is so small that it
seems wise for all to meet together, and the little children
are expected to take a part in the entertainment preceding
the distribution of gifts, can't they do something simple,
requiring little if any practise? They may assist in
telling a story, by taking the part of the toys or animals
that figure in it, or they may act out a song in pantomime.
Whatever they do should be of such a nature that it is
pleasurable and not an exertion.

For, as we said long ago, it is the spirit of these festi-
vals that we wish to foster, if they are to leave any im-
pression on the children, and it is the children's good
which must be our first consideration in planning for
these special days.

risi]

LESSONS FOR TEACHERS OF BEGINNERS

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. State your opinion of the importance for little children
of observing festival dajs.

2. Should the effect of their observance upon parents or the
Sunday school be at all considered?

3. Describe the type of service you think worth while.

4. Tell how a teacher may keep her children natural in such
an exercise.

5. Make out an appropriate service for the Beginners' de-
partment on Promotion Day.

6. Give your ideas for the Beginners at the Christmas tree
entertainment.

[I3«]

LESSON XXIV

The Children's Response

And these are they that were sown upon the good
ground; such as hear the word, and accept it, and bear
fruit. — The Words of Jesus

Our Aim

We have had so many consecutive lessons on method
and management that it seems wise, lest wt become over-
absorbed in detail, to consider again the reason for our
teaching and the measure of our success. "We teach
and teach until, like droning pedagogues, we lose the
sense that what we teach and learn hath other use than
being taught and learned."

We must hark back to the very beginning of our course
of lessons to discover this reason in the child himself and
his instinctive demand for religion. And what is our
measure of success? Not the perfection of our equip-
ment and organization, not the adequacy of our curricu-
lum, not the logical sequence of our program, not the
efficiency of our methods — not any or all of these things,
but rather the response of the children.

Does this mean that w^c must turn out model children
or consider ourselves as having failed in our task?
Whenever we teachers find ourselves model, we may ex-
pect our children to be. Does this mean that, at the end

[153]

LESSONS FOR TEACHERS OF BEGINNERS

of our course, we shall produce a graduating class that
can recite perfectly a certain amount of Scripture? Pos-
sibly, but the response we want is one of feeling rather
than knowledge.

When we speak of coveting the child's response, \ve
mean the response of his spiritual rather than intellectual
nature, which will show itself both in feeling and con-
duct. This does not underestimate in the least the im-
portance of the response of the intellect or the vital part
played in education by interest. It simply rates these
things as means to an end — that end the realization of
God, for which we have before used Mrs. Houghton's
felicitous phrase, "God-consciousness"; and the desire to
be God-like or the love of goodness. These tv/o things
are elemental and profoundly religious, for they spell
spirituality and the basis of Christian character.

A Child's Feeling toward God

To regard God as the most important factor of every-
day life spiritualizes each circumstance and condition.
This v/as the attitude of the Hebrews toward life, and,
though it did not make them perfect human beings, it
gave them such a deep spirituality that we owe to them
the great revelation of God found in the Bible. Mention
men who have possessed in a marked degree this quality
— if quality it may be called — of God-consciousness, as
Phillips Brooks, whose response to this Vv-as a v/onderful
spirit which blossomed in helpful Christian deeds of a
rare order.

In an early lesson we argued that children are instinc-
tively reaching out after God by their wondering ques-
tions concerning the cause and origin of things. If we

[154]

THE CHILDREN'S RESPONSE

have satisfied them by naming the God they seek, and
through story, song, Bible verse, conversation and prayer
making him real, their response will be very natural.
Father and mother, sister and brother vi^ill hold scarcely
a more important place in their lives than does the
heavenly Father. That he is invisible makes him no less
real to them, for they live in a world of invisibility,
of animism. To them stars feel, stones think, flowers
love, behind everything is a thought, in all is feel-
ing. What could be more natural than a loving, invisible
Father, caring for his children? And here all about is
his handiwork — flowers arising from apparently lifeless
seeds; a carpet of green grass and a shade of green foli-
age; rain, snow, wind and cloud with all their mystery
of source; bird and beast and insect equipped with every
means of existence and the instinct for preserving it;
stars twinkling in immeasurable space.

What has been your children's response to this concep-
tion of the universe? This response cannot always be
discovered by the children's remarks, as their deepest
feelings are usually inarticulate. A chance question or
comment will often betray their state of mind. A certain
look in the wondering eyes or the way the word God is
spoken — not in awed accents, but in a friendly and lov-
ing fashion — shows the place he holds in a child's heart.
I have known people to speak and write slightingly of a
child's conception of God and question the possibility of
his thoughts being occupied with anything but material
surroundings and interests. From such a person a child
instinctively hides these thoughts, for as susceptible to
ridicule or misunderstanding as the sensitive plant is to
rough handling is the confidence of a little child. On«

[155]

LESSONS FOR TEACHERS OF BEGINNERS

who has retained this confidence through sympathy will
be anything but skeptical in regard to the reality of a
child's religious feeling.

"I have brought you some of God's leaves," said a
small boy to his teacher.

We were picking strawberries on the hill — wild
strawberries, like drops of honey. "Doesn't heavenly
Father make these strawberries nice!" commented Char-
lotte.

We were looking at the sunflowers, and I spoke of how
they sowed themselves and grew and blossomed year after
year, with no care. "But the heavenly Father is working
pretty hard all the time," said Barbara.

I was playfully chiding a little friend for forgetting
something we had seen together, w^hen, to my surprise,
her eyes suddenly grew serious as she said, "I don't for-
get the heavenly Father."

In children's prayers we see their confidence in God's
power to banish sickness, to afiFord protection, to temper
the beam of the sun and to stop the blowing of the wind.
Thanksgiving is referred to as "Heavenly Father's Day,"
fear allayed by the consciousness of God's watchful care,
and every blessing traced with trustful certainty to the
Giver of all good.

The Response of Condnct

And yet the consciousness of God's presence and love
for him is not the whole of a child's religion. We want
the response of action. . Our teaching is far too apt to be
academic only. "They know the stories and can recite
the Bible verses and sing well," we say with proud
satisfaction, when what is the aim of it all? Isn't it

[156]

THE CHILDREN'S RESPONSE

growth in character? What great gain wH there be if
we simply arouse feeling? We do not desire children
that have merely knowledge; neither do we wish a set of
emotional children; we prefer children that act.

Do we then expect an immediate and continuous re-
sponse in conduct? Do you find jour children a little
more helpful after each of a group of stories on helpful-
ness? Shall we see an instantaneous unselfish act follow
our lesson on that subject, and prompt obedience the re-
sult of a story illustrating that virtue? How is it with our-
selves? Do we respond immediately to the fine sermon
or touching song or inspiring book? Isn't our next act
often a petty one? Has the inspiration, then, gone for
nothing? Not at all. The great difference is that we
feel our pettiness as never before. The result of having
our ideal raised is discontent and contrition at not reach-
ing that ideal, which leads eventually to greater effort
and hence greater success. We certainly cannot expect
more of our children than of ourselves. To help them
distinguish between right and wrong; to make right
attractive and desirable and wrong unalluring and de-
testable; to arouse sorrow and dissatisfaction in wrong-
doing and content in approaching the right — that is our
aim, and all the response we can expect.

After all, don't you find in yourself that the only effec-
tive incentive to goodness is love of goodness? If we
have awakened the response of love of right in our chil-
dren, we may well feel satisfied, even if their acts do not
always bear this out. Their ideas in regard to unself-
ishness and kindness, obedience and helpfulness will
often be quaintly expressed.

Mayette's older sister once said her Bible verse in this

[157]

LESSONS FOR TEACHERS OF BEGINNERS

way — **Be ye kind one to another, and another means
Mayette."

"I'd hit any dog that tried to hurt my cat," said a
sturdy little protector.

"I feed the birds every day," said a small boy; "not
the pigeons, those are father's, but the wild birds; they
are God's birds and mine."

Social Service

In Sunday school itself the actual working out of the
virtues inculcated is possible. Obedience to the teacher,
while made delightful, is obligatory, for freedom does
not banish discipline, but rather necessitates it. Giving
up one's own desires for the social good is actually prac-
tised in Sunday school by joining in the song that isn't
one's favorite because another child chooses it; by wait-
ing patiently with the incident of home life one is so
eager to relate till another child has an opportunity to
tell his tale; by using the self-control necessary to attend
quietly to the story; by telling some of it even when one
is shy. We teachers, too, are exemplifying good or bad
traits all the while. Are we always patient? just? con-
siderate? sj^mpathetic ? encouraging? firm? tactful?

Perhaps where we all fail is in making the most of
opportunities for this social service — for it seems to me the
little child's ideal relationship with others in Sunday
school constitutes this. His social service will also in-
clude deeds of happy helpfulness to the family circle,
caring for pets, the making of gifts to friends. This may
be extended somewhat to gifts or kind deeds to other chil-
dren. Which is preferable at this age — gifts to foreign
children, necessitating some account of their customs and

[158]

A LITTLE HELPER

THE CHILDREN'S RESPONSE

manners or help for children near by, like the children
themselves, only afflicted in some way — poor, sick or
without parents? Which will naturally awaken more
interest? Isn't the logical sequence interest widening
from those near at hand to those farther away ? A child's
courtesy to the postman, the grocer's boy, the clerks, of
whom he makes small purchases, is a part of his social
service. His gifts of a chubby handful of flov/ers or
some handiwork painstakingly fashioned, his feeding the
winter birds, his picking up his own toys, his careful
nurture of garden plants, all these are distinctly the so-
cial service of a little child, the first step toward the more
extended service of future j^ears.

What can the Beginners' department do besides in-
spiring through stories and conversation to such acts?
Can it undertake any special gift-making at Christmas?
Thanksgiving? Easter? Let us remember that money
given by the parents is not as much the child's gift as the
flower he has picked for the hospital, the scrap-book he
has helped make for the sick friend, the toys he has
played with and enjoyed and passes en to another child.

To recapitulate, we only approach successful teachers
as we see in our children the response of a consciousness
of God in the world and in their lives, the love of good-
ness and a delight in activities that tend toward
the well-being and happiness of others.

Co-workers we are with Him! Were he to ask,

"Come, star with me the spaces of my night,

Or light with me tomorrow's sunset glow.

Or fashion forth the crystals of my snow,

Or teach my sweet June-roses next to blow," —

Oh, rare beatitude! But holier task,

Of all his works of beauty fairest — high,

[159]

LESSONS FOR TEACHERS OF BEGINNERS

Is that he keeps for hands like ours to ply!
When he upgathers all his elements,
His days, his nights, whole eons of his June,
The Mighty Gardener of the earth and sky,
That to achieve toward which the ages roll.
We hear thy voice that sets the spheres a-tune, —
"Help me, my comrades, flower this little Soul !"

—JV. C. Gannett.

QUESTIONS FOR DISCUSSION, REPORTS OR PAPERS

1. What kind of response on the children's part determines
our success as teachers?

2. Give some evidences you have witnessed of a child's
feeling toward God.

1. What effect will a consciousness of God have upon a
little child?

4. In what degree can we expect a response to our teaching
in conduct?

5. What in your opinion constitutes the social service of a
little child?

6. In such social service how much of the element of self-
sacrifice can we expect?

ti6o]

Date Due

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