Psychology, Robert S. Woodworth [android based ebook reader .txt] 📗

A second line of development is in the direction of constructiveness. Taking things apart and putting them together, building blocks, assembling dolls and toy animals into "families" or "parties" setting table or arranging toy chairs in a room, are examples of this style of manipulation, which calls less for manual dexterity than for seeing ways in which objects can be rearranged.

Make-believe is a third direction followed in the development of manipulation. The little boy puts together a row of blocks and pushes it along the floor, asserting that it is a train of cars. The little girl lays her doll carefully in its bed, saying "My baby's sick; that big dog did bite him". This might be spoken of as "manipulating things according to the meanings attached to them", the blocks being treated as cars, and the doll as a sick baby.

Perhaps a little later than make-believe to make its appearance in the child is story-telling the fourth type of manipulation. Where in make-believe he has an actual object to manipulate according to the meaning attached to it, in story-telling he simply talks about persons and things and makes them perform in his story. He comes breathless into the house with a harrowing tale of being pursued by a hippopotamus in the woods; or he gives a fantastic account of the doings of his acquaintances. For this he is sometimes accused of being a "little liar"--as indeed he {483} probably is when circumstances demand--and sometimes, more charitably, he is described as being still unable to distinguish observation from imagination; but really what he has not yet grasped is the social difference between his make-believe, which no one objects to, and his story-telling, which may lead people astray.

Both make-believe and story-telling are a great convenience to the child, since he is able by their means to manipulate big and important objects that he could not manage in sober reality. He thus finds an outlet for tendencies that are blocked in sober reality--blocked by the limitations of his environment, blocked by the opposition of other people, blocked by his own weakness and lack of knowledge and skill. Unable to go hunting in the woods, he can play hunt in the yard; unable to go to war with the real soldiers, he can shoulder his toy gun and campaign all about the neighborhood. The little girl of four years, hearing her older brothers and sisters talk of their school, has her own "home work" in "joggity", and her own graduation exercises.

In such ways as we have been describing, the little child shows "imagination", or mental manipulation. In story-telling the objects manipulated are simply thought of; in make-believe, though there is actual motor manipulation of present objects, the attached meanings are the important matter; and in construction there is apt to be a plan in mind in advance of the motor manipulation, as when you look at the furniture in a room and consider possible rearrangements.

The materials manipulated in imagination are usually facts previously perceived, and to be available for mental {484} manipulation they must now be recalled; but they are not merely recalled--they are rearranged and give a new result that may never have been perceived. A typical product of imagination is composed of parts perceived at different times and later recalled and combined, as a centaur is composed of man and horse, or a mermaid of woman and fish. Imagination is like reasoning in being a mental reaction; but it differs from reasoning in being manipulation rather than exploration; reasoning consists in seeing relationships that exist between facts, and imagination in putting facts into new relationships. These are but rough distinctions and definitions; we shall try to do a little better after we have examined a variety of imaginative performances.

"Imagination" and "invention" mean very much the same mental process, though "imagination" looks rather to the mental process itself, and "invention" more to the outcome of the process, which is a product having some degree of novelty and originality.

Imagination, like association and like attention, is sometimes free, and sometimes controlled. Controlled imagination is directed towards the accomplishment of some desired result, while free imagination wanders this way and that, with no fixed aim. Controlled imagination is seen in planning and designing; free imagination occurs in moments of relaxation, and may be called "play of the imagination". The free variety, as the simpler, will be considered first.

Our study will have more point if we first remind ourselves what are the psychological problems to be attacked in studying any mental activity. What is the stimulus and what the response? These are the fundamental questions. But the study of response breaks up into three subordinate questions, regarding the tendency that is awakened, regarding the {485} end-result obtained, and regarding the often complex process or series of responses, that leads to the end-result.

The response in imagination we have already defined, in a general way, as mental manipulation, and the end-result as the placing of facts into new combinations or relationships. The stimulus consists of the facts, either perceived at the moment or recalled from past perception, that are now freshly related or combined. The more precise question regarding the stimulus is, then, as to what sort of facts make us respond in an inventive or imaginative way; and the more precise question regarding the end-result is as to what kind of combinations or new relationships are given to the facts--both pretty difficult questions. In regard to process, the great question is as to how any one can possibly escape from the beaten track of instinct and habit, and do anything new; and in regard to tendency the question is as to what motives are awakened in inventive activity and what satisfaction there is in the end-result. This last question, as to why we imagine, is about the easiest to answer.

Free imagination was spoken of a moment ago as a kind of play; and we might turn this about and say that play, usually if not always, contains an element of imagination or invention. Sometimes the child makes up new games, very simple ones of course, to fit the materials he has to play with; but even when he is playing a regular game, he has constantly to adapt himself to new conditions as the game-situation changes. We may take the child's play as the first and simplest case of free invention and ask our questions regarding it. What are the child's play-stimuli (toys), how does he manipulate them, what end-results does he reach, and what satisfaction does he derive from {486} playing? We can ask these questions, but it is not so sure that we can answer them.

What is a toy? Anything to play with. But what characteristics of an object make it a real toy, which shall actually arouse the play response? First, it must be such that the child can move it; and almost anything that he can move serves, one time or another, for a plaything. But the surest stimulus is a new toy, the element of novelty and variety being important in arousing manipulation as it is in arousing exploration. However, to define a toy simply as something moveable, and also new if possible, fails to satisfy the spirit of inquiry, and about the only way to progress further is to make a long list of toys, and classify them from the psychological point of view. Thus we get the following classes of play-stimuli:

Little models of articles used by adults, such as tools, furniture, dishes; and we might include here dolls and toy animals. The child's response to this class of toys is imitative. Some psychologists have been so much impressed with the imitative play of children and animals (as illustrated by puppies playing fight), that they have conceived of all play as a sort of rehearsal for the serious business of life; but this conception does not apply very well to some of the other sorts of toy.

Noise-makers: rattle, drum, bell, horn, whistle, fire-cracker.

Things that increase your speed of locomotion, or that move you in unusual ways, as bicycle, skate, sled, rocking-horse, swing, seesaw, merry-go-round. Here belong also such sports as hopping, skipping, jumping, dancing, skipping rope, vaulting, leapfrog, whirling, somersault. The dizzy sensation resulting from stimulation of the semicircular canals is evidently pleasant to young children, and some of their sports seem aimed at securing a good measure of it.

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Things that increase your radius of action; balls to throw or bat, bow and arrow, sling, mirror used to throw sunlight into a distant person's eyes; and we might include the bicycle here as well as in the preceding class.

Things that resist the force of gravity, floating, soaring, balancing, ascending, instead of falling; or that can be made to behave in this way. Here we have a host of toys and sports: balloons, soap bubbles, kites, rockets, boats, balls that bounce, tops that balance while they spin, hoops that balance while they roll, arrows shot high into the sky; climbing, walking on the fence, swimming, swinging, seesaw again.

Things that move in surprising ways or that are automatic: toy windmills, mechanical toys.

Things that can be opened and shut or readjusted in some similar way: a book to turn the leaves of, a door to swing or to hook and unhook, a bag or box to pack or unpack, water taps to turn on or off (specially on).

Plastic materials, damp sand, mud, snow; and other materials that can be worked in some way, as paper to tear or fold, stones or blocks to pile, load or build, water to splash or pour; and we might add here fire, which nearly every one, child or adult, likes to manage.

Finally, playmates should really be included in a list of playthings, since the presence of a playmate is often the strongest stimulus to arouse play.

Such being the stimulus, what is the play response? It consists in manipulating or managing the plaything so as to produce some interesting result. The hoop is made to roll, the kite to fly, the arrow to hit something at a distance, the blocks are built into a tower or knocked down with a crash, the mud is made into a "pie", the horn is sounded. Many games are variations on pursuit and capture (or escape): tag, hide-and-seek, prisoner's base, blind {488} man's buff, football, and we might include chess and checkers here. Wrestling, boxing, snowballing are variations on attack and defense. A great many are variations on action at a distance, of which instances have already been cited from children's toys; in adult games we find here golf, croquet, bowling, quoits, billiards, shooting. Many games emphasize motor skill, as skipping ropes, knife, cat's cradle, usually however with competition in skill between the different players. This element of manual skill enters of course into nearly all games. Mental acuteness appears in the guessing games, as well as in chess and many games of cards. Many games combine several of the elements mentioned, as in baseball we have action at a distance, pursuit and escape, motor skill and activity, and a chance for "head work".

Now, what is the sense of games and toys, what satisfactions do they provide? What instincts or interests are thrown into activity? There is no one single "play instinct" that furnishes all the satisfaction, but conceivably every natural and acquired source of satisfaction is tapped in one play or another. In the games that imitate fighting, some of the joy of fighting is experienced, even though no real anger develops. In the games that imitate pursuit and escape, some of the joy of hunting and some of the joy of escape are awakened. In the "kissing games" that used to be common in young people's parties when dancing was frowned upon, and in dancing itself, some gratification of the sex instinct is undoubtedly present; but dancing also gives a chance for muscular activity which is obviously