In this period the child learns more than in all his subsequent life. He learns to talk, to walk, to feed himself and to play; he learns the rudiments of written and printed language, and the names and uses of the various objects he sees about him; he comprehends form, color, perspective, and harmony; his imagination, so useful in later life, blossoms forth; his moral sense buds and the capacity to distinguish between right and wrong unfolds; the intense desire to learn and to know is born--evidenced by his rapid-fire and continuous questions; he is possessed by a voracious appetite for knowledge which must be fed by a harvest of information; and the habit of obedience and the recognition of parental authority become fixed. His horizon is bounded by physical growth and the acquisition of knowledge. All subsequent knowledge is either a variant of or a supplement to the basic knowledge acquired during infancy. The ascendant trait of the imaginative period is the faculty of make-believe. It is the ability of the mind to create mental images of objects previously perceived by the senses. It involves the power to reconstruct and recombine materials, already known, into others of like symbolic purport. It is exhibited when Johnny mounts a broomstick, shouting, “Get up, horsie!” and “Whoa!” The imagination builds up a mental image of a real horse, which he has seen, out of the stick-and-string substitute. Through fancy, he endows the counterfeit with all the attributes of the original and for the time being the broomstick is a real, living, bucking horse. Such make-believe is an important factor in the development and coördination of ideas and the acquisition of knowledge. And so in the innumerable instances of make-believe plays, whether he pretends in fancy to be papa, a ravenous bear, a soldier, a policeman, or what not, he temporarily lives the part he is playing and merges his personality into the assumed character with an abandon which should excite the envy of an actor. Witness also the imagination displayed by Mary when she builds a house with a line of chairs, and peoples it with imaginary friends with whom she carries on extended conversations, and takes the several parts in the dialogue when the absence of playmates renders such expedient necessary. Impersonation is grounded in imagination. Every little girl impersonates her mother, with a doll as her make-believe self, and spends many hours in pretending to care for its physical needs, teaching it mentally, and even correcting its morals with some form of punishment with which she herself is acquainted, whether corporal or otherwise.