(2) The child desires, not only to enter into communion with other persons and other living things, but also, in some sort, to identify his life with theirs. Watch him when he is playing with other children, or even when he is alone, except for the companionship of his dolls and toys. He is pretty sure to be acting, playing at make-believe, pretending to be something that he is not, some grown-up person of his acquaintance, some hero of history or romance, some traveller or other adventurer, some giant, dwarf, or fairy, some animal, wild or tame. He plays the part of one or other of these, and his playmates play other parts, and so a little drama is enacted. If he has no playmates, his dolls have to play their parts, or his toy animals have to be endowed with life, so that they may become fellow-actors with him on the stage that he has selected. No instinct is more inevitable, more sure to energise, than this.
We will call it the dramatic instinct.
In both these instincts the child is struggling to grow, to expand his being, by going out of himself, through the medium of sympathy and imagination—twin aspects of the same vital tendency—into the lives of other living beings. We will therefore call these the Sympathetic Instincts, and place them in a class by themselves.
(3) From his very babyhood the child delights in colour, and at a very early age he learns to love and understand pictures. Then comes the desire to make these for himself. Give him pencil and paper, give him chalk, charcoal, a paint-box, and other suitable materials, and he will set to work of his own accord to depict what he sees or has seen, either with his outward or his inward eye. Give him a lump of clay, and he will try to mould it into the likeness of something that has either attracted his attention, or presented itself to his imagination. In all these attempts he is trying, unknown to himself, to express his perception of, and delight in, the visible beauty of Nature. This instinct will expand, in the fullness of time, into a strong and subtle feeling for visible beauty, and into a restless desire to give expression to that feeling.
We will call this the artistic instinct, the word artistic being used, for lack of a more suitable term, in its narrow and conventional sense.
(4) While the child is still a baby in arms, his mother will sing to him, and dance him on her knee. This is her first attempt to initiate him into the mystery of music; and the response that he makes to her proves that she is a wise teacher, and is appealing to a genuinely natural faculty. It will not be long before he begins to dance and sing for himself. Watch the children in a London court or alley when a barrel-organ appears on the scene. Without having any one to direct or teach them, they will come together and dance in couples, often with abundant grace and charm. Nature is their tutor. Her own rhythm, of which the musician must have caught an echo, is passing through their ears into their hearts and into their limbs. No instinct is so spontaneous as this. A child will whistle or sing while his mind is engaged on other things. If he is happy he will dance about as naturally, and almost as inevitably, as the leaves dance when the breeze passes through them.
We will call this the musical instinct. So elemental is it that man shares it, in some degree, with other living things. The birds are accomplished musicians, and their movements, and those of many other creatures, are full of rhythm and grace.
In both these instincts the child is struggling to grow, to expand his being, by going out of himself, in response to the attractive force of beauty, into that larger life which is at the heart of Nature, but which is not ours until we have made it our own. We will therefore call these the Æsthetic Instincts, and place them in a class by themselves.
(5) From a very early age the child desires to know the why and wherefore of things, to understand how effects are produced, to discover new facts, and pass on, if possible, to their causes. In response to the pressure of this instinct, the child breaks his toys in order that he may find out how they work, and asks innumerable questions which make him the terror and despair of his parents and the other "Olympians." No instinct is more insistent in the early days of the child's life. No instinct is more ruthlessly repressed by those to whom the education of the child is entrusted. No instinct dies out so completely (except so far as it is kept alive by purely utilitarian considerations) when education of the conventional type has done its deadly work. It has been said that children go to school ignorant but curious, and leave school ignorant and incurious. This gibe is the plain statement of a patent truth.
We will call this the inquisitive instinct.