delightful description: “We took off our shoes and sat on the warm, comfortable, half-dark part of the couch behind the backs of the grown people. Wherever I was there was Anna, my best friend among the Greenland children.... We made quite free with pincushions, dishes, and timepieces! We brought mussel shells and bleached seal bones and made a playhouse in the corner. We took cushions from the great pile and made beds for the puppies. We made mural decorations from coloured chips. Over our heads hung boots, hose, skins, trousers, and _timiaks_ (under-jackets) to dry in the warmth of the lamp or to be out of the way. All these surroundings formed elements in our play. In imagination we had sent our husbands off on a seal hunt, and with thimbles on our first fingers, the Greenland custom, we sewed round flaps for the boot soles of the absent ones.”[571] One can not read such a description as this without being impressed with the incalculable influence of imitation on the whole psychic life of the child, not only in relation to externals, but also as affecting their deeply rooted sympathies and antipathies, habits and convictions, all of which are deeply influential on the developing character. Baldwin says: “It is not only likely—it is inevitable—that he makes up his personality, under limitation of heredity by imitation, out of the ‘copy’ set in the actions, temper, emotions of the people who build around him the social inclosure of his childhood. It is only necessary to watch a two-year-old closely to see what members of the family are giving him his personal ‘copy’—to find out whether he sees his mother constantly and his father seldom; whether he plays much with other children, and what their dispositions are to a degree; whether he is growing to be a person of subjection, equality, or tyranny; whether he is assimilating the elements of some low, unorganized social content from his foreign nurse. For, in Leibnitz’s phrase, the boy or girl is a social monad, a little world, which reflects the whole system of influences coming to stir its sensibilities. And just as far as his sensibilities are stirred he imitates, and forms habits of imitating. And habits?—they are character.”[572]