FAR ESE ACE.

“Wuat the child imitates,” says Froebel, “he begins to understand. Let him
represent the flying of birds and he enters partially into the life of birds. Let him
imitate the rapid motion of fishes in the water and his sympathy with fishes is
quickened. Let him reproduce the activities of farmer, miller and baker, and his
eyes open to the meaning of their work. In one word let him reflect in his play the
varied aspects of life and his thought will begin to grapple with their significance.”

In all times and among all nations, finger-plays have been a delight of childhood.
Countless babies have laughed and crowed over “ Pat-a-cake”’ and other performances
of the soft little hands; while children of whatever age never fail to find amusement
in playing

“Here is the church,
And here’s the steeple,

Open the doors,
And here are the people!”

and others as well known.

Yet it is not solely upon the pleasure derived from them, that finger-plays depend
for their vazson @etre. By their judicious and early use, the development of strength
and flexibility in the tiny lax fingers may be assisted, and dormant thought may re-
ceive its first awakening call through the motions which interpret as well as illustrate
the phase of life or activity presented by the words.

The eighteen finger-plays contained in this book have already, through publica-
tion in BAaByLAND, been introduced to their especial public, and have been much used
in homes, though perhaps more in kindergartens. It will readily be seen that while
some of the plays are for the babies in the nursery, others are more suitable for older
children.

A baby-friend, ten months old, plays “ All for Baby” throughout, pounding and
clapping gleefully with all his might— while children seven or eight years of age
play and sing “ The Caterpillar,’ “ How the Corn Grew” and others with very evident

enjoyment
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