There is nothing in all this with which any one need quarrel. Froebel was assuredly an idealist, but in these days that is no longer a term of reproach. No one, to whom it does not appeal, need use the suggestion, but to those of us who believe that right guidance of a child’s delight in fairy tales is one way of developing his sense of reverence, there is nothing so very far fetched even in Froebel’s way of trying to bring to the child’s consciousness, the spirit striving for utterance not only in every beautiful form, but in everything beautiful as he does in “The Smell Song.” Of fairy tales Froebel says: “The child, like the man, would like to know the meaning of what happens around him. This is the foundation of the Greek choruses, especially in tragedies. This, too, is the foundation of many legends and fairy tales, and it is the result of the deeply-rooted consciousness of being surrounded by that which is higher and more conscious than ourselves.”--_P., p. 147._ So, when the child delights in the scent of the flower, Froebel says to the mother: “Let your child find in all things a mind, a struggle for being. Colour form and spicy smell all forthtell the One ruling hand which called all into existence.” But all she is told to pass on to the child is only the thought that an angel has put the scent there and is saying: “The little one does not see me, but without me there would be no fragrance.” Although in one sense the educator of young children need have no dealings at all with “symbolism,” yet in another, a walking-stick does, for the boy who bestrides it, symbolize, a horse, as a piece of wood may symbolize for his little sister the infant whom she may nurse and caress, with what Froebel calls “the dim and transferred perception of inner life.” Here Froebel seems quite right, as when in speaking of a child’s visit to a toyshop he says, “a true child is content with very little of the outer, he is satisfied by a doll or cart, a whistle or a sheep, provided only that in or through it he can find his own world and represent it in actual deeds.”--_M., p. 199._ It may be said, too, that there is symbolism in children’s drawings, the animal or object is symbolized by that which to the child is the most outstanding characteristic. One small boy drew a camel with a rider so small that some one protested he could not see over the hump, so the artist promptly drew a second rider in front. Being asked if he could draw an elephant, he assented cheerfully and added a trunk to his camel. By the addition of claws the elephant became a cat, but at that point he paused, remarking, “It’s not very like a cat, it’s more like a bird,” and a pair of wings completed the transformations. In like manner by help of a walking stick a child becomes his own father, and a pair of spectacles transforms him into his grandmother. But in all such cases the child is dealing with ideas he has already grasped.