in a series of related activities. But in these activities constructive imagination appears as an element. Situations are not absolutely duplicated, occurrences are changed to suit the fancy of the player, as demanded by the dramatic interest. A fairy prince, or a godmother, may be participants, but at this age the constructive imagination is likely to work along more practical lines. Curiosity is also present, but now the questions asked are such as, "What makes her eyes work?" "Why can't she stand up?" or they often pertain to the things that are being made for the doll. They have to do with "How" or "Why" instead of the "What." The doll may still be talked to and even be supposed to talk back, but the child knows it is all play; it is no longer personified as in the earlier period. For the child fully to enjoy her play, she must now have companions of her own age, the older person no longer suffices. The outdoor games of boys show the same kind of complexity,--for instance, take any of the running games. With little boys they are unorganized manifestations of mere physical activity. The running is more or less at random, arms and vocal organs are used as much as the legs and trunk. Imitation comes in-what one does others are likely to do. The mere "follow" instinct is strong, and they run after each other. The beginnings of the fighting instinct appear in the more or less friendly tussles they have. The stage of the gregarious instinct is shown by the fact that they all play together. Later with boys of nine or ten the play has become a game, with rules governing it. The general physical activity has been replaced by a specialized form. Imitation is less of a factor. The hunting instinct often appears unexpectedly, and in the midst of the play the elements of the chase interfere with the proper conduct of the game. The fighting instinct is strong, and is very easily aroused. The boys now play in gangs or groups, and the tendency towards leadership manifests itself within the group. The intellectual element appears again and again, in planning the game, in judging of the possibility of succeeding at different stages, or in settling disputes that are sure to arise. So it is with all the plays of children: they are complexes of the various tendencies present, and the controlling elements change as the inner development continues.