It is rashly said that the senses of children are quick. They are, on the contrary, unwieldy in turning, unready in reporting, until advancing age teaches them agility. This is not lack of sensitiveness, but mere length of process. For instance, a child nearly newly born is cruelly startled by a sudden crash in the room--a child who has never learnt to fear, and is merely overcome by the shock of sound; nevertheless, that shock of sound does not reach the conscious hearing or the nerves but after some moments, nor before some moments more is the sense of the shock expressed. The sound travels to the remoteness and seclusion of the child's consciousness, as the roar of a gun travels to listeners half a mile away.
So it is, too, with pain, which has learnt to be so instant and eager with us of later age that no point of time is lost in its touches--direct as the unintercepted message of great and candid eyes, unhampered by trivialities; even so immediate is the communication of pain. But you could count five between the prick of a surgeon's instrument upon a baby's arm and the little whimper that answers it. The child is then too young, also, to refer the feeling of pain to the arm that suffers it. Even when pain has groped its way to his mind it hardly seems to bring local tidings thither. The baby does not turn his eyes in any degree towards his arm or towards the side that is so vexed with vaccination. He looks in any other direction at haphazard, and cries at random.
See, too, how slowly the unpractised apprehension of an older child trudges after the nimbleness of a conjurer. It is the greatest failure to take these little gobe-mouches to a good conjurer. His successes leave them cold, for they had not yet understood what it was the good man meant to surprise them withal. The ******* it is who really astonishes them. They cannot come up even with your ******* beginner, performing at close quarters; whereas the master of his craft on a platform runs quite away at the outset from the lagging senses of his honest audience.
You may rob a child of his dearest plate at table, almost from under his ingenuous eyes, send him off in chase of it, and have it in its place and off again ten times before the little breathless boy has begun to perceive in what direction his sweets have been snatched.
Teachers of young children should therefore teach themselves a habit of awaiting, should surround themselves with pauses of patience.
The ****** little processes of logic that arrange the grammar of a common sentence are too quick for these young blunderers, who cannot use two pronouns but they must confuse them. I never found that a young child--one of something under nine years--was able to say, "Isend them my love" at the first attempt. It will be "I send me my love," "I send them their love," "They send me my love"; not, of course, through any confusion of understanding, but because of the tardy setting of words in order with the thoughts. The child visibly grapples with the difficulty, and is beaten.
It is no doubt this unreadiness that causes little children to like twice-told tales and foregone conclusions in their games. They are not eager, for a year or two yet to come, for surprises. If you hide and they cannot see you hiding, their joy in finding you is comparatively small; but let them know perfectly well what cupboard you are in, and they will find you with shouts of discovery. The better the hiding-place is understood between you the more lively the drama. They make a convention of art for their play. The younger the children the more dramatic; and when the house is filled with outcries of laughter from the breathless breast of a child, it is that he is pretending to be surprised at finding his mother where he bade her pretend to hide. This is the comedy that never tires.
