Play permits the child to resolve in symbolic form unsolved problems of the past and to cope directly or symbolically with present concerns. It is also his most significant tool for preparing himself for the future and its tasks.

What cannot be talked about cannot be put to rest. And if it is not, the wounds will fester from generation to generation.

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.

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

The delight we experience when we allow ourselves to respond to a fairy tale, the enchantment we feel, comes not from the psychological meaning of the tale (although this contributes to it) but from its literary qualities-the tale itself as a work of art.

Plato--who may have understood better what forms the mind of man than do some of our contemporaries who want their children exposed only to "real" people and everyday events--knew what intellectual experience made for true humanity. He suggested that the future citizens of his ideal republic begin their literary education with the telling of myths, rather than with mere facts or so-called rational teachings.