The Montessori Method Part 24

[14] G. Ferreri--Per l'insegnamento della scrittura (Sistema della Dott M. Montessori) Bollettino dell' a.s.sociazione Romana per la cura medico--pedigogica dei fanciulli anormali e deficienti poveri, anno 1, n. 4, ottobre 1907. Roma Tipografia delle Terme Diocleziane.

[15] Ria.s.sunto delle lezion di didattica, della dott. Montessori anno 1900, Stab. lit. Romano, via Frattina 62, Disp. 6a, pag. 46: "_Lettura e Scrittura simultanee._"

"At this point we present the cards bearing the vowels painted in red.

The child sees irregular figures painted in red. We give him the vowels in wood, painted red, and have him superimpose these upon the letters painted on the card. We have him touch the wooden vowels in the fas.h.i.+on of writing, and give him the name of each letter. The vowels are arranged on the cards according to a.n.a.logy of form:

_o_ _e_ _a_ _i_ _u_

"We then say to the child, for example, 'Find o. Fat it in its place.'

Then, 'What letter is this?' We here discover that many children make mistakes in the letters if they only look at the letter.

"They could however tell the letter by touching it. Most interesting observations may be made, revealing various individual types: visual, motor.

"We have the child touch the letters drawn upon the cards,--using first the index finger only, then the index with the middle finger,--then with a small wooden stick held as a pen. The letter must be traced in the fas.h.i.+on of writing.

"The consonants are painted in blue, and are arranged upon the cards according to a.n.a.logy of form. To these cards are annexed a movable alphabet in blue wood, the letters of which are to be placed upon the consonants as they were upon the vowels. In addition to these materials there is another series of cards, where, besides the consonant, are painted one or two figures the names of which begin with that particular letter. Near the script letter, is a smaller printed letter painted in the same colour.

"The teacher, naming the consonant according to the phonetic method, indicates the letter, and then the card, p.r.o.nouncing the names of the objects painted there, and emphasizing the first letter, as, for example, '_p-pear_: give me the consonant _p_--put it in its place, touch it,' etc. _In all this we study the linguistic defects of the child._

"Tracing the letter, in the fas.h.i.+on of writing, begins the muscular education which prepares for writing. One of our little girls taught by this method has reproduced all the letters with the pen, though she does not as yet recognise them all. She has made them about eight centimetres high, and with surprising regularity. This child also does well in hand work. The child who looks, recognises, and touches the letters in the manner of writing, prepares himself simultaneously for reading and writing.

"Touching the letters and looking at them at the same time, fixes the image more quickly through the co-operation of the senses. Later, the two facts separate; looking becomes reading; touching becomes writing.

According to the type of the individual, some learn to read first, others to write."

I had thus, about the year 1899, initiated my method for reading and writing upon the fundamental lines it still follows. It was with great surprise that I noted the _facility_ with which a deficient child, to whom I one day gave a piece of chalk, traced upon the blackboard, in a firm hand, the letters of the entire alphabet, writing for the first time.

This had arrived much more quickly than I had supposed. As I have said, some of the children wrote the letters _with a pen and yet could not recognise one of them_. I have noticed, also, in normal children, that the muscular sense is most easily developed in infancy, and this makes writing exceedingly easy for children. It is not so with reading, which requires a much longer course of instruction, and which calls for a superior intellectual development, since it treats of the _interpretation of signs_, and of the _modulation of accents of the voice_, in order that the word may be understood. And all this is a purely mental task, while in writing, the child, under dictation, _materially translates_ sounds into signs, and _moves_, a thing which is always easy and pleasant for him. Writing develops in the little child with _facility_ and _spontaneity_, a.n.a.logous to the development of spoken language--which is a motor translation of audible sounds.

Reading, on the contrary, makes part of an abstract intellectual culture, which is the interpretation of ideas from graphic symbols, and is only acquired later on.

My first experiments with normal children were begun in the first half of the month of November, 1907.

In the two "Children's Houses" in San Lorenzo, I had, from the date of their respective inaugurations (January 6 in one and March 7 in the other), used only the games of practical life, and of the education of the senses. I had not presented exercises for writing, because, like everybody else, I held the prejudice that it was necessary to begin as late as possible the teaching of reading and writing, and certainly to avoid it before the age of six.

But the children seemed to demand some _conclusion_ of the exercises, which had already developed them intellectually in a most surprising way. They knew how to dress and undress, and to bathe, themselves; they knew how to sweep the floors, dust the furniture, put the room in order, to open and close boxes, to manage the keys in the various locks; they could replace the objects in the cupboards in perfect order, could care for the plants; they knew how to observe things, and how to see objects with their hands. A number of them came to us and frankly demanded to be taught to read and write. Even in the face of our refusal several children came to school and proudly showed us that they knew how to make an O on the blackboard.

Finally, many of the mothers came to beg us as a favour to teach the children to write, saying, "Here in the 'Children's Houses' the children are awakened, and learn so many things easily that if you only teach reading and writing they will soon learn, and will then be spared the great fatigue this always means in the elementary school." This faith of the mothers, that their little ones would, from us, be _able to learn to read and write without fatigue_, made a great impression upon me.

Thinking upon the results I had obtained in the school for deficients, I decided during the August vacation to make a trial upon the reopening of the school in September. Upon second thought I decided that it would be better to take up the interrupted work in September, and not to approach reading and writing until October, when the elementary schools opened.

This presented the added advantage of permitting us to compare the progress of the children of the first elementary with that made by ours, who would have begun the same branch of instruction at the same time.

In September, therefore, I began a search for someone who could manufacture didactic materials, but found no one willing to undertake it. I wished to have a splendid alphabet made, like the one used with the deficients. Giving this up, I was willing to content myself with the ordinary enamelled letters used upon shop windows, but I could find them in script form nowhere. My disappointments were many.

So pa.s.sed the whole mouth of October. The children in the first elementary had already filled pages of vertical strokes, and mine were still waiting. I then decided to cut out large paper letters, and to have one of my teachers colour these roughly on one side with a blue tint. As for the touching of the letters, I thought of cutting the letters of the alphabet out of sandpaper, and of gluing them upon smooth cards, thus making objects much like those used in the primitive exercises for the tactile sense.

Only after I had made these simple things, did I become aware of the superiority of this alphabet to that magnificent one I had used for my deficients, and in the pursuit of which I had wasted two months! If I had been rich, I would have had that beautiful but barren alphabet of the past! We wish the old things because we cannot understand the new, and we are always seeking after that gorgeousness which belongs to things already on the decline, without recognising in the humble simplicity of new ideas the germ which shall develop in the future.

I finally understood that a paper alphabet could easily be multiplied, and could be used by many children at one time, not only for the recognition of letters, but for the composition of words. I saw that in the sandpaper alphabet I had found the looked-for guide for the fingers which touched the letter. This was furnished in such a way that no longer the sight alone, but the touch, lent itself directly to teaching the movement of writing with exactness of control.

In the afternoon after school, the two teachers and I, with great enthusiasm, set about cutting out letters from writing-paper, and others from sandpaper. The first, we painted blue, the second, we mounted on cards, and, while we worked, there unfolded before my mind a clear vision of the method in all its completeness, so simple that it made me smile to think I had not seen it before.

The story of our first attempts is very interesting. One day one of the teachers was ill, and I sent as a subst.i.tute a pupil of mine, Signorina Anna Fedeli, a professor of pedagogy in a Normal school. When I went to see her at the close of the day, she showed me two modifications of the alphabet which she had made. One consisted in placing behind each letter, a transverse strip of white paper, so that the child might recognise the direction of the letter, which he often turned about and upside down. The other consisted in the making of a cardboard case where each letter might be put away in its own compartment, instead of being kept in a confused ma.s.s as at first. I still keep this rude case made from an old pasteboard box, which Signorina Fedeli had found in the court and roughly sewed with white thread.

She showed it to me laughing, and excusing herself for the miserable work, but I was most enthusiastic about it. I saw at once that the letters in the case were a precious aid to the teaching. Indeed, it offered to the eye of the child the possibility of comparing all of the letters, and of selecting those he needed. In this way the didactic material described below had its origin.

I need only add that at Christmas time, less than a month and a half later, while the children in the first elementary were laboriously working to forget their wearisome pothooks and to prepare for making the curves of O and the other vowels, two of my little ones of four years old, wrote, each one in the name of his companions, a letter of good wishes and thanks to Signor Edoardo Talamo. These were written upon note paper without blot or erasure and the writing was adjudged equal to that which is obtained in the third elementary grade.

CHAPTER XVII

DESCRIPTION OF THE METHOD AND DIDACTIC MATERIAL USED

FIRST PERIOD: EXERCISE TENDING TO DEVELOP THE MUSCULAR MECHANISM NECESSARY IN HOLDING AND USING THE INSTRUMENT IN WRITING

_Design Preparatory to Writing.--Didactic Material._ Small wooden tables; metal insets, outline drawings, coloured pencils. I have among my materials two little wooden tables, the tops of which form an inclined plane sloping toward a narrow cornice, which prevents objects placed upon the table from slipping off. The top of each table is just large enough to hold four of the square frames, into which the metal plane geometric insets are fitted, and is so painted as to represent three of these brown frames, each containing a square centre of the same dark blue as the centres of the metal insets.

The metal insets are in dimension and form a reproduction of the series of plane geometric insets in wood already described.

_Exercises_. Placed side by side upon the teacher's desk, or upon one of the little tables belonging to the children, these two little tables may have the appearance of being one long table containing eight figures.

The child may select one or more figures, taking at the same time the frame of the inset. The a.n.a.logy between these metal insets and the plane geometric insets of wood is complete. But in this case, the child can freely use the pieces, where before, he arranged them in the wooden frame. He first takes the metal frame, places it upon a sheet of white paper, and with a coloured pencil _draws around the contour of the empty centre_. Then, he takes away the frame, and upon the paper there remains a geometric figure.

This is the first time that the child has reproduced through design, a geometric figure. Until now, he has only placed the geometric insets above the figures delineated on the three series of cards. He now places upon the figure, which he himself has drawn, the metal inset, just as he placed the wooden inset upon the cards. His next act is to follow the contour of this inset with a pencil of a different colour. Lifting the metal piece, he sees the figure reproduced upon the paper, in two colours.

Here, for the first time is born the abstract concept of the geometric figure, for, from two metal pieces so different in form as the frame and the inset, there has resulted the same design, which is a _line_ expressing a determined figure. This fact strikes the attention of the child. He often marvels to find the same figure reproduced by means of two pieces so different, and looks for a long time with evident pleasure at the duplicate design--almost as if it were _actually produced_ by the objects which serve to guide his hand.

Besides all this, the child learns _to trace lines_ determining figures.

There will come a day in which, with still greater surprise and pleasure, he will trace graphic signs determining words.

After this, he begins the work which directly prepares for the formation of the muscular mechanism relative to the holding and manipulation of the instrument of writing. With a coloured pencil of his own selection, held as the pen is held in writing, he _fills in_ the figure which he has outlined. We teach him not to pa.s.s outside the contour, and in doing so we attract his attention to this contour, and thus _fix_ the idea that a line may determine a figure.

The exercise of filling in one figure alone, causes the child to perform repeatedly the movement of manipulation which would be necessary to fill ten copy-book pages with vertical strokes. And yet, the child feels no weariness, because, although he makes exactly the muscular co-ordination which is necessary to the work, he does so freely and in any way that he wishes, while his eyes are fixed upon a large and brightly coloured figure. At first, the children fill pages and pages of paper with these big squares, triangles, ovals, trapezoids; colouring them red, orange, green, blue, light blue, and pink.

Gradually they limit themselves to the use of the dark blue and brown, both in drawing the figure and in filling it in, thus reproducing the appearance of the metal piece itself. Many of the children, quite of their own accord, make a little orange-coloured circle in the centre of the figure, in this way representing the little bra.s.s b.u.t.ton by which the metal piece is to be held. They take great pleasure in feeling that they have reproduced exactly, like true artists, the objects which they see before them on the little shelf.

Observing the successive drawings of a child, there is revealed to us a duplicate form of progression:

_First._ Little by little, the lines tend less and less to go outside the enclosing line until, at last, they are perfectly contained within it, and both the centre and the frame are filled in with close and uniform strokes.

_Second._ The strokes with which the child fills in the figures, from being at first short and confused, become gradually _longer, and more nearly parallel_, until in many cases the figures are filled in by means of perfectly regular up and down strokes, extending from one side of the figure to the other. In such a case, it is evident that the child is _master of the pencil_. The muscular mechanism, necessary to the management of the instrument of writing, _is established_. We may, therefore, by examining such designs, arrive at a clear idea of the maturity of the child in the matter of _holding the pencil or pen in hand_. To vary these exercises, we use the _outline drawings_ already described. Through these designs, the manipulation of the pencil is perfected, for they oblige the child to make lines of various lengths, and make him more and more secure in his use of the pencil.

If we could count the lines made by a child in the filling in of these figures, and could transform them into the signs used in writing, they would fill many, many copy-books! Indeed, the security which our children attain is likened to that of children in our ordinary third elementary grade. When for the first time they take a pen or a pencil in hand, they know how to manage it almost as well as a person who has written for a long time.

I do not believe that any means can be found which will so successfully and, in so short a s.p.a.ce of time, establish this mastery. And with it all, the child is happy and diverted. My old method for the deficients, that of following with a small stick the contours of raised letters, was, when compared with this, barren and miserable!

Even when the children _know how to write_ they continue these exercises, which furnish an unlimited progression, since the designs may be varied and complicated. The children follow in each design essentially the same movements, and acquire a varied collection of pictures which grow more and more perfect, and of which they are very proud. For I not only _provoke_, but perfect, the writing through the exercises which we call preparatory. The control of the pen is rendered more and more secure, not by repeated exercises in the writing, but by means of these filled-in designs. In this way, my children _perfect themselves in writing, without actually writing_.