The question for the child is not Do I want to be good? but Whom do I want to be like?

Fairy tales are loved by the child not because the imagery he finds in them conforms to what goes on within him, but because--despite all the angry, anxious thoughts in his mind to which the fairy tale gives body and specific content--these stories always result in a happy outcome, which the child cannot imagine on his own.

The child intuitively comprehends that although these stories are unreal, they are not untrue.

As the creative adult needs to toy with ideas, the child, to form his ideas, needs toys--and plenty of leisure and scope to play with them as he likes, and not just the way adults think proper. This is why he must be given this freedom for his play to be successful and truly serve him well.

Although we like to think of young children's lives as free of troubles, they are in fact filled with disappointment and frustration. Children wish for so much, but can arrange so little of their own lives, which are so often dominated by adults without sympathy for the children's priorities. That is why children have a much greater need for daydreams than adults do. And because their lives have been relatively limited they have a greater need for material from which to form daydreams.

The good enough mother, owing to her deep empathy with her infant, reflects in her face his feelings; this is why he sees himselfin her face as if in a mirror and finds himself as he sees himself in her. The not good enough mother fails to reflect the infant's feelings in her face because she is too preoccupied with her own concerns, such as her worries over whether she is doing right by her child, her anxiety that she might fail him.

The unrealistic nature of these tales (which narrowminded rationalists object to) is an important device, because it makes obvious that the fairy tales’ concern is not useful information about the external world, but the inner process taking place in an individual.