Play is not for every hour of the day, or for any hour taken at random. There is a tide in the affairs of children. Civilization is cruel in sending them to bed at the most stimulating time of dusk. Summer dusk, especially, is the frolic moment for children, baffle them how you may. They may have been in a pottering mood all day, intent upon all kinds of close industries, breathing hard over choppings and poundings. But when late twilight comes, there comes also the punctual wildness. The children will run and pursue, and laugh for the mere movement--it does so jog their spirits.
What remembrances does this imply of the hunt, what of the predatory dark? The kitten grows alert at the same hour, and hunts for moths and crickets in the grass. It comes like an imp, leaping on all fours. The children lie in ambush and fall upon one another in the mimicry of hunting.
The sudden outbreak of action is complained of as a defiance and a rebellion. Their entertainers are tired, and the children are to go home. But, with more or less of life and fire, they strike some blow for liberty. It may be the impotent revolt of the ineffectual child, or the stroke of the conqueror; but something, something is done for freedom under the early stars.
This is not the only time when the energy of children is in conflict with the weariness of men. But it is less tolerable that the energy of men should be at odds with the weariness of children, which happens at some time of their jaunts together, especially, alas! in the jaunts of the poor.
Of games for the summer dusk when it rains, cards are most beloved by children. Three tiny girls were to be taught "old maid" to beguile the time. One of them, a nut-brown child of five, was persuading another to play. "Oh come," she said, "and play with me at new maid."
The time of falling asleep is a child's immemorial and incalculable hour. It is full of traditions, and beset by antique habits. The habit of prehistoric races has been cited as the only explanation of the fixity of some customs in mankind. But if the enquirers who appeal to that beginning remembered better their own infancy, they would seek no further. See the habits in falling to sleep which have children in their thralldom. Try to overcome them in any child, and his own conviction of their high antiquity weakens your hand.
Childhood is antiquity, and with the sense of time and the sense of mystery is connected for ever the hearing of a lullaby. The French sleep- song is the most romantic. There is in it such a sound of history as must inspire any imaginative child, falling to sleep, with a sense of the incalculable; and the songs themselves are old. _Le Bon Roi Dagobert_ has been sung over French cradles since the legend was fresh. The nurse knows nothing more sleepy than the tune and the verse that she herself slept to when a child. The gaiety of the thirteenth century, in _Le Pont a' Avignon_, is put mysteriously to sleep, away in the _tete a tete of_ child and nurse, in a thousand little sequestered rooms at night. _Malbrook_ would be comparatively modern, were not all things that are sung to a drowsing child as distant as the day of Abraham.
If English children are not rocked to many such aged lullabies, some of them are put to sleep to strange cradle-songs. The affectionate races that are brought into subjection sing the primitive lullaby to the white child. Asiatic voices and African persuade him to sleep in the tropical night. His closing eyes are filled with alien images.
THE MAN WITH TWO HEADS
It is generally understood in the family that the nurse who menaces a child, whether with the supernatural or with simple sweeps, lions, or tigers--goes. The rule is a right one, for the appeal to fear may possibly hurt a child; nevertheless, it oftener fails to hurt him. If he is prone to fears, he will be helpless under their grasp, without the help of human tales. The night will threaten him, the shadow will pursue, the dream will catch him; terror itself have him by the heart. And terror, having made his pulses leap, knows how to use any thought, any shape, any image, to account to the child's mind for the flight and tempest of his blood. "The child shall not be frightened," decrees ineffectual love; but though no man make him afraid, he is frightened. Fear knows him well and finds him alone.
Such a child is hardly at the mercy of any human rashness and impatience; nor is the child whose pulses go steadily, and whose brows are fresh and cool, at their mercy. This is one of the points upon which a healthy child resembles the Japanese. Whatever that extreme Oriental may be in war and diplomacy, whatever he may be at London University, or whatever his plans of Empire, in relation to the unseen world he is a child at play. He hides himself, he hides his eyes and pretends to believe that he is hiding, he runs from the supernatural and laughs for the fun of running.
So did a child, threatened for his unruliness with the revelation of the man with two heads. The nurse must have had recourse to this man under acute provocation. The boy, who had profited well by every one of his four long years, and was radiant with the light and colour of health, refused to be left to compose himself to sleep. That act is an adult act, learnt in the self-conscious and deliberate years of later life, when man goes on a mental journey in search of rest, aware of setting forth. But the child is pursued and overtaken by sleep, caught, surprised, and overcome. He goes no more to sleep, than he takes a "constitutional" with his hoop and hoopstick. The child amuses himself up to the last of his waking moments. Happily, in the search for amusement, he is apt to learn some habit or to cherish some toy, either of which may betray him and deliver him up to sleep, the enemy. What wonder, then, if a child who knows that everyone in the world desires his peace and pleasure, should clamour for companionship in the first reluctant minutes of bed? This child, being happy, did not weep for what he wanted; he shouted for it in the rousing tones of his strength. After many evenings of this he was told that this was precisely the vociferous kind of wakefulness that might cause the man with two heads to show himself.
Unable to explain that no child ever goes to sleep, but that sleep, on the contrary, "goes" for a child, the little boy yet accepted the penalty, believed in the man, and kept quiet for a time.
There was indignation in the mother's heart when the child instructed her as to what might be looked for at his bedside; she used all her emphasis in assuring him that no man with two heads would ever trouble those innocent eyes, for there was no such portent anywhere on earth. There is no such heart-oppressing task as the making of these assurances to a child, for whom who knows what portents are actually in wait! She found him, however, cowering with laughter, not with dread, lest the man with two heads should see or overhear. The man with two heads had become his play, and so was perhaps bringing about his sleep by gentler means than the nurse had intended. The man was employing the vacant minutes of the little creature's flight from sleep, called "going to sleep" in the inexact language of the old.
Nor would the boy give up his faith with its tremor and private laughter. Because a child has a place for everything, this boy had placed the monstrous man in the ceiling, in a corner of the room that might be kept out of sight by the bed curtain. If that corner were left uncovered, the fear would grow stronger than the fun; "the man would see me," said the little boy. But let the curtain be in position, and the child lay alone, hugging the dear belief that the monster was near.
He was earnest in controversy with his mother as to the existence of his man. The man was there, for he had been told so, and he was there to wait for "naughty boys," said the child, with cheerful self-condemnation. The little boy's voice was somewhat hushed, because of the four ears of the listener, but it did not falter, except when his mother's arguments against the existence of the man seemed to him cogent and likely to gain the day. Then for the first time the boy was a little downcast, and the light of mystery became dimmer in his gay eyes.
CHILDREN IN BURLESQUE
Derision, which is so great a part of human comedy, has not spared the humours of children. Yet they are fitter subjects for any other kind of jesting. In the first place they are quite defenceless, but besides and before this, it might have been supposed that nothing in a child could provoke the equal passion of scorn. Between confessed unequals scorn is not even suggested. Its derisive proclamation of inequality has no sting and no meaning where inequality is natural and manifest.
Children rouse the laughter of men and women; but in all