indeed, be familiar in some context; the novelty, the inventive devising, clings to the new light in which it is seen, the different use to which it is put. When Newton thought of his theory of gravitation, the creative aspect of his thought was not found in its materials. They were familiar; many of them commonplaces—sun, moon, planets, weight, distance, mass, square of numbers. These were not original ideas; they were established facts. His originality lay in the use to which these familiar acquaintances were put by introduction into an unfamiliar context. The same is true of every striking scientific discovery, every great invention, every admirable artistic production. Only silly folk identify creative originality with the extraordinary and fanciful; others recognize that its measure lies in putting everyday things to uses which had not occurred to others. The operation is novel, not the materials out of which it is constructed.
The educational conclusion which follows is that all thinking is original in a projection of considerations which have not been previously apprehended. The child of three who discovers what can be done with blocks, or of six who finds out what he can make by putting five cents and five cents together, is really a discoverer, even though everybody else in the world knows it. There is a genuine increment of experience; not another item mechanically added on, but enrichment by a new quality. The charm which the spontaneity of little children has for sympathetic observers is due to perception of this intellectual originality. The joy which children themselves experience is the joy of intellectual constructiveness—of creativeness, if the word may be used without misunderstanding.
The educational moral I am chiefly concerned to draw is not, however, that teachers would find their own work less of a grind and strain if school conditions favored learning in the sense of discovery and not in that of storing away what others pour into them; nor that it would be possible to give even
