48 w. H. WINCH : In general accord with the above contentions are the observations of Dr. Lukens 1 : " Play-in-language (inventive language)." " This inventive stage may degenerate into the silliest, emptiest nonsense, holding the child back in his progress, and injuring his development permanently if it be so far encouraged by parents and others through adopting and using the babyish nonsense themselves, or even by recognising it and letting the child see that it will pass as language. An unfortunate infant brought up under the tutelage of such a georgy-porgy, wheely-peely, baby-talk mother, called a dog a waggy ; a cow, a horny ; a horse, a haha ; a nut, a cocker; his nurse, bow- wow ; and a banana, a parson ; and kept it up till he was four years of age." VII. PSYCHOLOGY OF PLAY PLAY AS ART. The close connexion of art with the play impulse has long been recognised, and some consideration of the development of art may help us in the discussion of the latter. Prof. Haddon writes 2 : " The vast bulk of artistic expres- sion owes its birth to realism, the representations were meant to be lifelike, or to suggest real objects ; that they may not have been so was owing to the apathy or incapacity of the artist or to the unsuitability of his materials ". And again with reference to Papuan drawings 3 : " The mouth is represented in a sucker-fish as being on the upper side of the head, whereas it should be underneath, and the view there drawn of that fish's tail would be impossible from that particular point of view, but these and numerous other similar examples which I could name are merely due to a desire to express several salient features, without regard to the possibility of their being all seen at once ". And an investigation of children's drawings leads to similar conclusions. But as we meet in the interpretation of these drawings with the same sort of diminished-adult view of child-psychol- ogy which I believe to be misleading, I trust I may be per- mitted a more extended reference to this point. It is well known that children will often insert two eyes in a profile sketch, or show two arms when only one can be seen. Bicci says the second arm is supposed to be seen through the body. 4 This may mean that the child imagines 1 The Child, A, F. Chamberlain, p. 442. 2 Evolution in Art, p. 7. 3 Ibid., p. 165. 4 Studies in Childhood, Prof. Sully, p. 363.
