The progress of this rude naming or articulate recognition is very interesting. The names first learnt are either those of individuals, what we call proper names, as ‘mamma,’ ‘nurse,’ or those which, like ‘bath,’ ‘bow-wow,’ are at first applied to one particular object. It is often supposed that a child uses these as true singular names, recognising individual objects as such. But this is pretty certainly an error. He cannot note differences well enough or grasp a sufficient number of differential marks to know an individual as such, and he will, as occasion arises, quite spontaneously extend his names to other things which happen to have some interesting and notable points in common with the first. Thus ‘bow-wow,’ though first applied to one particular dog, is, as we know, at once extended to other dogs, pictures of dogs, and not infrequently other things as well. If then we speak of the child as generalising or widening the application of his terms, we must not be taken to mean that he goes through a process of comparing things which he perceives to be distinct, and discovering a likeness in these, but that he merely assimilates or recognises something like that which he has seen before without troubling to note the differences. This extension of names or generalising process proceeds primarily and mainly by the feeling for the likenesses or the common aspects of things, though as we shall see presently their connexions of time and place afford a second and subordinate means of extension. The transference of a name from object to object through this apprehension of a likeness or assimilation has already been touched upon. It moves along thoroughly childish lines, and constitutes one of the most striking and interesting of the manifestations of precocious originality. Yet if unconventional in its mode of operation it is essentially thought-activity, a connecting of like with like, and a rudimentary grouping of things in classes. This tendency to comprehend like things or situations under a single articulate sign is seen already in the use of the early indicative sign ‘atta’ (all gone). It was used by Preyer’s child to mark not only the departure of a thing but the putting out of a flame, later on, an empty glass or other vessel. By another child it was extended to the ending of music, the closing of a drawer and so on. Here, however, the various applications probably answer more to a common feeling of ending or missing than to an apprehension of a common objective situation.