334 INTERNATIONAL CONGRESS OF EDUCATION. 
The answer to the question as to how far the dramatic element should 
anter into the song can be broadly stated in three propositions : 
The subdued song, with the thought turned inward, should be sung 
without further action than may be expressed by undisturbed attitude ; as 
n the ¢ Winter Praver” 
¢ Loving Friend, oh, hear our prayer ! 
Take unto Thy tender care 
All the leaves and flowers that sleep 
In their white beds covered deep ; 
Shelter from the wintry storm 
All thy snow-birds ; keep them warm.” 
Here the only unforced action is the lifting of the head in appeal. If 
further gesture be introduced, such as an imitation of the movement of 
she storm, or of the covering over of the flowers, the simplicity and unity 
of the song is marred ; the thought is distributed among the objects for 
which the appeal is made instead of being centered upon the One appealed 
to, and the intended effect of the little hymn 1s destroyed. 
The song that tends to project thought outward, the song of joyous, 
leaping action, needs action in its expression ; as in the well-known blue- 
bird song : 
IT know the song that the bluebird is singing 
Up in the apple-tree where he is swinging. 
Brave little fellow ! The skies may look dreary ; 
Nothing cares he while his heart is so cheery. 
Hark! How the music leaps out of his throat ! 
dark! Was there ever so merry a note ? 
Listen a while, and you’ll hear what he’s saying 
Jp in the apple-tree, swinging and swaying !” 
In such a song as that, the child is living among things external ; ¢“ up 
n the apple-tree ” lifts his hand with it. The listening attitude of the 
rand to the ear, or the finger lifted and the head turned, are almost 
nstinctive, and the cradling movement, in time to the music, goes by 
tself as the bird tips the branch. The charm of the words, the swing of 
:he rhythm, the catch of the music set him “swinging and swaying” 
antil he is a bit of nature, at one with the rapture of the outburst of song. 
Tf we here separate gesture so instinctive from the singing, we check the 
ohild and spoil the song. It isin songs of such character that children 
most naturally select their own form of action, because they feel it so 
keenly in the blood. Let them choose. Encourage choice, and adopt 
the best they propose. 
Songs requiring movement so violent as to interfere with natural 
oreathing action should be acted out only by those of the children who 
are not singing. This proposition should be laid down as a principle. 
There are many songs which in their suggestiveness call for quite violent