Practical Education. Maria Edgeworth

Чтение книги онлайн.

СКАЧАТЬ the enterprising adventurer soon makes his escape from this barricado, leaves his goods behind him, and presently is again in what the nurse calls mischief.

      Mischief is with nurses frequently only another name for any species of activity which they find troublesome; the love which children are supposed to have for pulling things out of their places, is in reality the desire of seeing things in motion, or of putting things into different situations. They will like to put the furniture in a room in its proper place, and to arrange every thing in what we call order, if we can make these equally permanent sources of active amusement; but when things are once in their places, the child has nothing more to do, and the more quickly each chair arrives at its destined situation, the sooner comes the dreaded state of idleness and quiet.

      A nursery, or a room in which young children are to live, should never have any furniture in it which they can spoil; as few things as possible should be left within their reach which they are not to touch, and at the same time they should be provided with the means of amusing themselves, not with painted or gilt toys, but with pieces of wood of various shapes and sizes, which they may build up and pull down, and put in a variety of different forms and positions; balls, pulleys, wheels, strings, and strong little carts, proportioned to their age, and to the things which they want to carry in them, should be their playthings.

      Prints will be entertaining to children at a very early age; it would be endless to enumerate the uses that may be made of them; they teach accuracy of sight, they engage the attention, and employ the imagination. In 1777 we saw L——, a child of two years old, point out every piece of furniture in the French prints of Gil Blas; in the print of the Canon at Dinner, he distinguished the knives, forks, spoons, bottles, and every thing upon the table: the dog lying upon the mat, and the bunch of keys hanging at Jacintha's girdle; he told, with much readiness, the occupation of every figure in the print, and could supply, from his imagination, what is supposed to be hidden by the foremost parts of all the objects. A child of four years old was asked, what was meant by something that was very indistinctly represented as hanging round the arm of a figure in one of the prints of the London Cries. He said it was a glove; though it had as little resemblance to a glove, as to a ribbon or a purse. When he was asked how he knew that it was a glove, he answered, "that it ought to be a glove, because the woman had one upon her other arm, and none upon that where the thing was hanging." Having seen the gown of a female figure in a print hanging obliquely, the same child said, "The wind blows that woman's gown back." We mention these little circumstances from real life, to show how early prints may be an amusement to children, and how quickly things unknown, are learnt by the relations which they bear to what was known before. We should at the same time observe, that children are very apt to make strange mistakes, and hasty conclusions, when they begin to reason from analogy. A child having asked what was meant by some marks in the forehead of an old man in a print; and having been told, upon some occasion, that old people were wiser than young ones, brought a print containing several figures to his mother, and told her that one, which he pointed to, was wiser than all the rest; upon inquiry, it was found that he had formed this notion from seeing that one figure was wrinkled, and that the others were not.

      Prints for children should be chosen with great care; they should represent objects which are familiar; the resemblances should be accurate, and the manners should be attended to, or at least, the general moral that is to be drawn from them. The attitude of Sephora, the boxing lady in Gil Blas, must appear unnatural to children who have not lived with termagant heroines. Perhaps, the first ideas of grace, beauty, and propriety, are considerably influenced by the first pictures and prints which please children. Sir Joshua Reynolds tells us, that he took a child with him through a room full of pictures, and that the child stopped, with signs of aversion, whenever it came to any picture of a figure in a constrained attitude.

      Children soon judge tolerably well of proportion in drawing, where they have been used to see the objects which are represented: but we often give them prints of objects, and of animals especially, which they have never seen, and in which no sort of proportion is observed. The common prints of animals must give children false ideas. The mouse and the elephant are nearly of the same size, and the crocodile and whale fill the same space in the page. Painters, who put figures of men amongst their buildings, give the idea of the proportionate height immediately to the eye: this is, perhaps, the best scale we can adopt; in every print for children this should be attended to. Some idea of the relative sizes of the animals they see represented would then be given, and the imagination would not be filled with chimeras.

      After having been accustomed to examine prints, and to trace their resemblance to real objects, children will probably wish to try their own powers of imitation. At this moment no toy, which we could invent for them, would give them half so much pleasure as a pencil. If we put a pencil into their hands even before they are able to do any thing with it but make random marks all over a sheet of paper, it will long continue a real amusement and occupation. No matter how rude their first attempts at imitation may be; if the attention of children be occupied, our point is gained. Girls have generally one advantage at this age over boys, in the exclusive possession of the scissors: how many camels, and elephants with amazing trunks, are cut out by the industrious scissors of a busy, and therefore happy little girl, during a winter evening, which passes so heavily, and appears so immeasurably long, to the idle.

      Modelling in clay or wax might probably be a useful amusement about this age, if the materials were so prepared, that the children could avoid being every moment troublesome to others whilst they are at work. The making of baskets, and the weaving of sash-line, might perhaps be employment for children; with proper preparations, they might at least be occupied with these things; much, perhaps, might not be produced by their labours, but it is a great deal to give early habits of industry. Let us do what we will, every person who has ever had any experience upon the subject, must know that it is scarcely possible to provide sufficient and suitable occupations for young children: this is one of the first difficulties in education. Those who have never tried the experiment, are astonished to find it such a difficult and laborious business as it really is, to find employments for children from three to six years old. It is perhaps better, that our pupils should be entirely idle, than that they should be half employed. "My dear, have you nothing to do?" should be spoken in sorrow rather than in anger. When they see other people employed and happy, children feel mortified and miserable to have nothing to do. Count Rumford's was an excellent scheme for exciting sympathetic industry amongst the children of the poor at Munich; in the large hall, where the elder children were busy in spinning, there was a range of seats for the younger children, who were not yet permitted to work; these being compelled to sit idle, and to see the busy multitude, grew extremely uneasy in their own situation, and became very anxious to be employed. We need not use any compulsion or any artifice; parents in every family, we suppose, who think of educating their own children, are employed some hours in the day in reading, writing, business, or conversation; during these hours, children will naturally feel the want of occupation, and will, from sympathy, from ambition and from impatience of insupportable ennui, desire with anxious faces, "to have something to do." Instead of loading them with playthings, by way of relieving their misery, we should honestly tell them, if that be the truth, "I am sorry I cannot find any thing for you to do at present. I hope you will soon be able to employ yourself. What a happy thing it will be for you to be able, by and by, to read, and write and draw; then you will never be forced to sit idle."

      The pains of idleness stimulate children to industry, if they are from time to time properly contrasted with the pleasures of occupation. We should associate cheerfulness, and praise, and looks of approbation, with industry; and, whenever young people invent employments for themselves, they should be assisted as much as possible, and encouraged. At that age when they are apt to grow tired in half an hour of their playthings, we had better give them playthings only for a very short time, at intervals in the day; and, instead of waiting till they are tired, we should take the things away before they are weary of them. Nor should we discourage the inquisitive genius from examining into the structure of their toys, whatever they may be. The same ingenious and active dispositions, which prompt these inquiries, will secure children from all those numerous temptations to do mischief, to which the СКАЧАТЬ