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Updated: May 15, 2025
Passing then to Froebel's "Mother-Play," we found that the very heart of his educational idea lies in the book, and that it serves as a guide for mothers whose babies are yet in their arms, as well as for those who have little children of four or five years under their care.
Froebel's Mother Songs, though containing a deal of sound wisdom in its mottoes and explanations, is an annotated, expurgated, and decidedly pedantic version of the nursery rhymes of his own country. That these should ever have been introduced to our children arose from the fact that the first Kindergarten teachers, being foreigners, did not know our own home-grown productions.
The year 1882 was the centenary of Froebel's birth, and in the present "plentiful lack" of faithful translations of Froebel's own words we proposed to the Froebel Society to issue a translation of the "Education of Man," which we would undertake to make at our own cost, that the occasion might be marked in a manner worthy of the English branch of the Kindergarten movement.
I have often noticed in life that a word at the right time and place has sufficed to give the destiny of a human being a different turn, and the remark of the Frankfort educator fell into Froebel's soul like a spark. He now saw his real profession clearly and distinctly before him.
The significant remark quoted in Froebel's "Reminiscences" is this: "He who understands what I mean by these songs knows my inmost secret."
He had found many things within to arrange on a more practical foundation, many without to correct: for the long locks of most of the pupils; the circumstance that three Lutzen Jagers, one of whom had delivered the oration at a students' political meeting, had established the school; that Barop had been persecuted as a demagogue on account of his connection with a students' political society; and, finally, Froebel's relations with Switzerland and the liberal educational methods of the school, had roused the suspicions of the Berlin demagogue-hunters, and therefore demagogic tendencies, from which in reality it had always held aloof, were attributed to the institute.
Like Froebel's gifts and occupations, deemed by their author the very roots of human occupations in infant form, the processes selected are underived and find their justification rather in their logical sequence and coherence than in being true norms of work.
To the class occupied exclusively with material things, this phase of Froebel's idea may perhaps seem mystical. There is nothing mystical to children, however; all is real, for their visions have not been dispelled. "Turn wheresoe'er I may, By night or day, The things which I have seen, I now can see no more."
I might well be tempted to devote still more time to the educational principles of the man who, from the depths of his full, warm heart, addressed to parents the appeal, "Come, let us live for our children," but it would lead me beyond the allotted limits. Many of Froebel's pedagogical principles undoubtedly appear at first sight a pallid theorem, partly a matter of course, partly impracticable.
She speedily opened Froebel's eyes to the aesthetic and artistic element in the lives of the boys entrusted to his care the element to which Langethal, from the time of his entrance into the institution, had directed his attention. So in Keilhau, too, woman was to pave the way to greater refinement. This had occurred long before our entrance into the institution.
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