James Sully

“ Not only are the points of attack thus limited; the attack when it does take place may bring something better than a debasing fear. A child may, it is certain, suffer acutely when it is frightened. But if only there is the magic circle of the mother's arms within reach may it not be said that the fear is more than counterbalanced by the greatest emotional luxury of childhood, the loving embrace? It is the shy fears, breeding the new fear of exposure to unloving eyes and possibly to ridicule, which are the tragedy of childhood. ”

“ A child of six or seven, when the passion for dolls is apt to be strong, will have moments of coolness, leaving "poor dolly" lying in the most humiliating posture on the floor, or throwing it away in a sudden fit of disenchantment and disgust. Scepticism will intrude, especially when the hidden "inside" comes to view as mere emptiness, or at best as nothing but sawdust.
Children seem, as George Sand says, to oscillate between the real and the impossible. Yet the intrusion of doubt does not, in many cases at least, interfere with an enduring trust. ”

“ It is not too much, I think, to say that to many a child this dread of the black night has been the worst of his sufferings. At no time is he really so brave as when he lies still in a cold damp terror and trusts to the coming of the morning light.
I do not believe that fear of the dark is universal among young children. ”

“ This play of imagination upon the world of sense has a strong vitalising or personifying element. A child is apt to attribute life and sensation to what we serious people regard as lifeless. Thus he gives not only a body but a soul to the wind when it whistles or howls at night. The most unpromising things come in for this warming, life-giving touch of a child's fancy. ”

“ Dreams, whether of the night or of the day, are not always of beautiful fairies and the like. Weird, awful-looking figures have a way of pushing themselves into the front of the scene. Especially when the "tone" of the frail young nerves runs down from poor health do these alarming shapes appear, and acquire a mighty hold on the child's imagination. Of the timidity of the early years of life I shall have more to say by-and-by. Here I want to bring out how the very vividness of children's images exposes them to what is sometimes at least their worst form of suffering. ”

“ This breathing of life into playthings is seen in all its magic force in play with dolls. A doll, broadly conceived, is anything which a child carries about and makes a pet of. The toy horse, dog or what not that a little boy nurses, feeds and takes to bed with him has much of the dignity of a true doll. But adopting conventional distinctions we shall confine the word to those things which are more or less endowed by childish fancy with human form and character. ”

“ A child's first attempts at drawing are not art proper, but a kind of play. As he sits at the table and covers a sheet of paper with line-scribble he is wholly self-centred, "amusing himself," as we say, and caring nothing about the production of a thing of æsthetic value.
Yet even in this infantile scribbling we see a tendency towards art-production in the effort of the small draughtsman to make his lines indicative of something to another's eyes, as when he bids his mother look at the "man," "gee-gee," or what else he cheerfully imagines his scribble to delineate. ”

“ No one, I think, will doubt that judged by our standards children are often profoundly and shockingly callous. But the question arises here, too, whether we are right in applying our grown-up standards. It is one thing to be indifferent with full knowledge of suffering, another to be indifferent in the sense in which a cat might be said to be so at the spectacle of your falling or burning your finger. We are apt to forget that a large part of the manifestation of human suffering is quite unintelligible to a little child. ”

“ Fear of nature's great sounds, more especially the wind and thunder, which is common among older children, owes its intensity not merely to their volume, which seems to surround and crush, but also to the mystery of their origin. We should remember too that sounds are, for the child still more than for the adult, expressive of feeling and intention. Hence religious ideas readily graft themselves on to the noisy utterances of wind and thunder. Wind is conceived of, for example, as the blowing of God when angry, and thunder, as we have seen, as his snoring, and so forth. ”

“ We know how commonly we make black and dark shades of colour symbols of melancholy and sorrow. If to this we add that in the night a child is apt to feel lost through a loss of all his customary landmarks, and that, worst of all, he is, in the midst of this blackness which blots out his daily home, left to himself, robbed of that human companionship which is his necessary stay and comfort, we need not, I think, wonder at his so often encountering "the terror by night". ”

“ An imaginative child can fill the dark vacancy of the bedroom with bright pleasing images. On going to bed and saying good-night to the world of daylight, he can see his beloved fairies, talk to them and hear them talk. We know how R. L. Stevenson must, when a child, have gladdened many of his solitary dark hours by bright fancies. Even when there is a little trepidation a hardy child may manage to play [Pg 104] with his fears, and so in a sense to enjoy his black phantasmagoria, just as grown-ups may enjoy the horrors of fiction. ”

“ The idea of knowingly perpetrating an untruth, so far as I can judge, is simply awful to a child who has been thoroughly habituated to the practice of truthful statement. May it, then, not well be that when a preternatural pressure of circumstances pushes the child over the boundary line of truth, he feels a shock, a horror, a giddy and aching sense of having violated law—law not wholly imposed by the mother's command, but rooted in the very habits of social life? ”

“ Self-moving objects, which are not manifestly living things, are apt to excite a feeling of alarm in children, as indeed to some extent in the more intelligent animals. Just as a dog will run away from a leaf whirled about by the wind, so children are apt to be terrified by the strange and quite irregular behaviour of a feather as it glides along the floor or lifts itself into the air. ”

“ That many children have a genuine delusion about their dolls seems evident. That is to say when they talk to them and otherwise treat them as human they imaginatively realise that they can understand and feel. The force of the illusion, blotting out from the child's view the naked reality before its eyes, is a striking illustration of the vividness of early fancy. Perhaps, too, this intensity of faith comes in part of the strength of the impulses which commonly sustain the doll-passion. ”

“ Very interesting in connection with the first stages of development of the idea of self is the experience of the mirror. It would be absurd to expect a child when first placed before a glass to recognise his own face. He will smile at the reflection as early as the tenth week, though this is probably merely an expression of pleasure at the sight of a bright object. If held when about six months old in somebody's arms before a glass a baby will at once show that he recognises the image of the familiar face of his carrier by turning round to the real face, whereas he does not recognise his own. ”

“ Childhood, we all know, is the age for dreaming; for living a life of happy make-believe. Even here, however, we want more accurate observation. For one thing, the play of infantile imagination is probably much less uniform than is supposed. There seem to be very serious children who rarely, if ever, indulge in a wild fancy. Mr. Ruskin has recently told us that when a child he was incapable of acting a part or telling a tale, that he never knew a child "whose thirst for visible fact was at once so eager and so methodic". ”

“ All the imaginative play of children seems, so far as we can understand it, to have about it something of illusion. This fact of the full sincere acceptance of the play-world as for the moment the real one, is illustrated in the child's jealous insistence that everything shall for the time pass over from the every-day world into the new one. ”

“ With this feeling for rhythm there soon appears a discerning feeling for quality of tone. First of all, I suspect, comes the appreciation of moderation and smoothness of sound; it is the violent sounds which mostly offend the young ear. A child's preference for the mother's singing is, perhaps, a half reminiscence of the soft-low tones of the lullaby. Purity or sweetness of tone, little by little, makes itself felt, and a child takes dislikes to certain voices as wanting in this agreeable quality. ”

“ No part of the life of a child appeals to us more powerfully perhaps than the first use of our language. The small person's first efforts in linguistics win us by a certain graciousness, by the friendly impulse they disclose to get mentally near us, to enter into the full fruition of human intercourse. The difficulties, too, which we manage to lay upon the young learner of our tongue, and the way in which he grapples with these, lend a peculiar interest, half pathetic, half humorous, to this field of infantile activity. ”

“ What he does want is some semblance of a living companion. Whatever his play he needs somebody, if only as listener to his make-believe; and when his imagination cannot rise to an invisible auditor, he will talk to such unpromising things as a sponge in the bath, a fire-shovel, or a clothes-prop in the garden. In more active sorts of play, where something has to be done, he will commonly want a living companion.
In this making of play-companions we see again the transforming power of a child's fancy. ”

“ Even where fear can be clearly traced to experience it is doubtful whether in all cases it springs out of a definite expectation of some particular kind of harm. When, for example, a child who has been frightened by a dog betrays signs of fear at the sight of a kennel, and even of a picture of a dog, may we not say that he dreads the sight and the idea of the dog rather than any harmful act of the animal? ”

“ In the out-of-door scene, too, it is the glitter of the running water, or a meadow all white with daisies, which captivates the glance. Light, the symbol of life's joy, seems to be the first language in which the spirit of beauty speaks to a child. ”

“ The uneasiness which comes from a sense of being in a new room or face to face with a stranger may perhaps be described as a feeling of what the Germans call the "unhomely". The little traveller has lost his bearings, and he begins to feel that he himself is lost. This effect of homelessness is, of course, most marked when a child finds himself in a strange place. Much of the acuter fear of children probably has in it something of this dizzy sickening sense of being lost. ”

“ When once the first fear of the strangeness is mastered a child will generally take kindly to an animal. A little boy of fifteen months quickly overcame his fright at the barking of his grandfather's dog, and began to share his biscuits with him, to give him flowers to smell, and to throw stones for his amusement.
At a quite early age, too, children will show the germ of a truly humane feeling towards animals. The same little boy that bravely got over his fear of the dog's barking would, when nineteen months old, begin to cry on seeing a horse fall in the street. ”

“ The doll-interest implies a deep mysterious sympathy. Children wish their dolls to share in their things, to be kissed when they are kissed, and so to come close to them in experience and feeling. Not only so, they look for sympathy from their doll-companions, taking to them all their childish troubles. So far is this feeling of oneness carried in some cases that the passion for dolls has actually rendered the child indifferent to child-companions. It is not every little girl who like little Maggie Tulliver has only "occasional fits of fondness" for her nursling when the brother is absent. ”

“ One of the most interesting phases of a child's activity is its groping after what we call art. Although a decided bent towards some special form of our art may be rare among children, most of them betray some rudiment of a feeling for beauty and of an impulse to produce it. It will be well to begin by glancing at the responses of children to the various presentations of beauty in nature and art, and then to examine their attempts at artistic production. ”

“ There is no need to suppose that in this simple kind of imitative make-believe children know that they are acting a part. It is surely to misunderstand the essence of play to speak of it as a kind of conscious performance, like that of the stage-actor. A child is one creature when he is truly at play, another when he is bent on astonishing or amusing you. ”

“ Probably the worst moment of this trouble of the night is when the child wakes suddenly from a sleep or half-sleep with some powerful dream-image still holding him in its clutches, and when the awful struggle to wake and to be at home with the surroundings issues in the cry, "Where am I?" It is in these moments of absolute hopeless confusion that the impenetrable blackness, refusing to divulge its secret, grows insufferable. The dream-images, but slightly slackening their hold, people the blackness with nameless terrors. ”

“ In making a reality out of the wind a child is led not by sight, but by touch. He feels the wind, and so the wind must be something substantial.
The common childish thought about the wind shows that the young mind is apt to be much impressed by the movements of things. Movement seems for all of us the clearest and most impressive manifestation of life. When the movement of an object is not seen to be caused by some other object, but seems to be spontaneous, it is apt to be taken by children as by uncivilised races to be the sign of life, and of something like human impulse. ”

“ Stanley Hall's inquiries into the thoughts of American children, God is apt to be imaged as a big, very strong man or giant. One child thought of him as a huge being with limbs spread all over the sky; another, as so tall that he could stand with one foot on the ground, and touch the clouds. ”