the fable into reality in the minds of my auditors. Yet,” he adds—and this is proof that the deceit was playful—“I was averse to falsehood and dissimulation, and would by no means lightly indulge in them.”[313] The same remarks apply to the corresponding amusements of adults, such as fishing and hunting stories, and Munchausen tales generally. In concluding this subject the temptation is strong to go into some of the special forms of fantasy, such as, for instance, the association of sensuous impressions with abstract ideas. Poetry has the task of justifying such combination, and this quatrain affords a simple instance: “Woher kommt der Blutegel? Aus der Reisfeld treibt er in den Fluss. Woher kommt die Liebe? Aus dem Auge senkt sie sich in’s Herz.” “Whence comes the leech, then? Out of the rice field it turns to the stream. Whence comes love, then? From the eye it sinks down to the heart.” From this doggerel to “Warte nur, balde ruhest du auch,” suggested by a view of wooded hills standing in evening quiet, is but a matter of development. Metaphor ensues when abstract form is superseded by sensuous impression. The designer and novelist Töpffer gives a beautiful instance of such materializing of the spiritual in this interesting contribution to child psychology when he tells us how he always conceived of conscience in the form of his teacher. “For a long time I did not distinguish between the inner voice of conscience and the admonitions of my instructor. When I felt the stirrings of the former I pictured the latter before me in his black robes, with his scholarly air, and his spectacles on his nose.”[314] 3. _Attention_