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194 but are left ambiguous, so that our whole being questions: What befell next? Which way did things turn out? Contrast the ease and fullness with which a child notes all the salient traits of a story, with the labor and inadequacy of his observation of some dead and static thing where nothing raises a question or suggests alternative outcomes.

When an individual is engaged in doing or making something (the activity not being of such a mechanical and habitual character that its outcome is assured), there is an analogous situation. Something is going to come of what is present to the sense, but just what is doubtful. The plot is unfolding toward success or failure, but just when or how is uncertain. Hence the keen and tense observation of conditions and results that attends constructive manual operations. Where the subject-matter is of a more impersonal sort, the same principle of movement toward a dénouement may apply. It is a commonplace that what is moving attracts notice when that which is at rest escapes it. Yet too often it would almost seem as if pains had been taken to deprive the material of school observations of all life and dramatic quality, to reduce it to a dead and inert form. Mere change is not enough, however. Vicissitude, alteration, motion, excite observation; but if they merely excite it, there is no thought. The changes must (like the incidents of a well-arranged story or plot) take place in a certain cumulative order; each successive change must at once remind us of its predecessor and arouse interest in its successor if observations of change are to be logically fruitful.

Living beings, plants, and animals, fulfill the twofold requirement to an extraordinary degree. Where there