The child, of course, spoke a baby German. This effort at translation serves only to show the versatility of her imagination and its disjointed expression.—Tr.
For example of amentia, see Kraepelin, Psychiatrie, p. 331.
[302] While Strümpell’s example was suggestive of the wanderings of a diseased mind, this one recalls the tales told by savages. Compare it, for example, with the Bushman’s story of the grasshopper in Ratzel’s Völkerkunde (vol. i, p. 75). Of course, we do not know whether there may not be some closer connection of ideas than we can trace.
[303] See Paola Lombroso, Saggi di Psicologia del Bambino, chap. ix, especially p. 155; B. Perez, L’art et la poésie chez l’enfant, chap. ix.
[304] John Forster, The Life of Charles Dickens, vol. ii, p. 71.
[305] They diverge from play, first, in that an end outside of the sphere of play is added to that of satisfaction in production for its own sake; and, second, that much of the artist’s effort is spent in improving, altering, and being otherwise occupied with technical conditions, etc., and not engaged in for the pleasure which it affords. We may compare what was said above in regard to sport.
[306] Grosse, op. cit., p. 250.
[307] When Daudet was thirteen years old he took an independent voyage on a ship with some soldiers on their way home from the Crimea. “With my southern power of imagination,” he writes in Gaulois, “I made myself out an important personage.”
[308] Op. cit., p. 309. See Guyan, Éducation et Hérédité, p. 148.
[309] Perez, Les trois premières années, etc., p. 121.