|baffle them how you may. They may have been in a pottering mood all day, intent|
5upon all kinds of close industries, breathing hard over choppings and poundings.
But when late twilight comes, there comes also the punctual wildness. The children
will run and pursue, and laugh for the mere movement-it does so jolt their spirits.
What remembrances does this imply of the hunt, what of the predatory dark? The
kitten grows alert at the same hour, and hunts for moths and crickets in the grass. It
10comes like an imp, leaping on all fours. The children lie in ambush and fall upon one
another in the mimicry of hunting. The sudden outbreak of action is complained of
as a defiance and a rebellion. Their entertainers are tired, and the children are to go
home. But, with more or less of life and fire, the children strike some blow for liberty.
It may be the impotent revolt of the ineffectual child, or the stroke of the conqueror;
15but something, something is done for freedom under the early stars.
This is not the only time when the energy of children is in conflict with the weariness
of men. But it is less tolerable that the energy of men should be at odds with
the weariness of children, which happens at some time of their jaunts together,
especially, alas! in the jaunts of the poor.
20Of games for the summer dusk when it rains, cards are most beloved by children.
Three tiny girls were to be taught "Old Maid" to beguile the time. One of them, a
nut-brown child of five, was persuading another to play. "Oh, come," she said, "and
play with me at 'New Maid.'"
The time of falling asleep is a child's immemorial and incalculable hour. It is full
25of traditions, and beset by antique habits. The habit of prehistoric races has been
cited as the only explanation of the fixity of some customs in mankind. But if the
inquirers who appeal to that beginning remembered better their own infancy, they
would seek no further. See the habits in falling to sleep which have children in their
thralldom. Try to overcome them in any child, and his own conviction of their high
30antiquity weakens your hand.
Childhood is antiquity, and with the sense of time and the sense of mystery is connected
for ever to the hearing of a lullaby. The French sleep-song is the most romantic.
There is in it such a sound of history as must inspire any imaginative child, falling
to sleep, with a sense of the incalculable; and the songs themselves are old. "Le Bon
35Roi Dagobert" has been sung over French cradles since the legend was fresh. The
nurse knows nothing more sleepy than the tune and the verse that she herself slept
to when a child. The gaiety of the thirteenth century, in "Le Pont d'Avignon," is put
mysteriously to sleep, away in the t¨?te ¨¤ t¨?te of child and nurse, in a thousand little
sequestered rooms at night. "Malbrook" would be comparatively modern, were not
40all things that are sung to a drowsing child as distant as the day of Abraham.
If English children are not rocked to many such aged lullabies, some of them are
put to sleep to strange cradle-songs. The affectionate races that are brought into
subjection sing the primitive lullaby to the white child. Asiatic voices and African
persuade him to sleep in the tropical night. His closing eyes are filled with alien
1. The sentence "There is a tide in the affairs of children" (lines 1–2) functions chiefly as
2. By using the word "tide" (line 2), the speaker emphasizes that
3. As used in line 4 "baffle" most nearly means
4. In lines 8–12, the speaker associates the wildness she observes in children at summer dusk with
5. The speaker's observation in the sentences, "But, with more or less . . . early stars" (lines 13–15) can best be described as an example of an
6. Which of the following best describes a rhetorical shift that occurs in lines 24–30?
7. The primary rhetorical purpose of the sixth paragraph (lines 31–40) is to
8. In line 27, the pronoun "their" refers to
9. The speaker's central rhetorical strategy in the seventh paragraph (lines 41–45) can best be described as
10. Which of the following phrases does the speaker use to illustrate the "mystery" (line 31) associated with lullabies?
11. The author's tone in the passage as a whole is best described as