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INDEX OF AUTHORS

Abbott, 287

Abercromby, 173

Acosta, 252, 266

Agrippa, 282

Ahlqvist, 159, 211

Allen, 8, 194

Amiel, 32, 38

Andree, 176, 280, 294

Angas, 67, 220, 259, 266, 270

Archer, 53

Aristotle, 23

Aubry, 82

Bailey, 237

Bain, 32, 33, 44

Baker, 236

Baldwin, 14, 24, 25, 79

Balfour, 147

Bancroft, 270, 272

Barrington, 198

Bartels, 67

Bashkirtseff, 61

Batchelor, 67, 159

Baumgarten, 1, 2

Beccari, 195

Beecham, 265

Berchon, 233

Bérenger-Féraud, 278, 283, 284, 286

Bernays, 60

Bernier, 67

Bidwill, 262, 264, 269

Binet, 81, 197

Binger, 226, 287

Blumentritt, 234, 235, 266

Boccaccio, 68

Bock, 227, 290

Böhme, 252

Bonghi, 283

Bonwick, 159, 160

Bosanquet, 2

Bouillier, 32, 37, 51

Bourget, 122

Bourgoing, 89

Bourke, 67, 169

Brehm, 84, 189, 199

Brenner, 234, 235, 259, 291

Bridges, 165

Brière, 283

Brinton, 63, 67, 156, 174, 211, 212, 236, 285

Broca, 252

Brown, Baldwin, 111

Brown, John, 94, 185

Bücher, 88, 106, 254, 255, 257, 259

Büchner, 194, 243

Buckland, 226

Buffon, 192

Burchell, 222

Burke, 77

Burton, 152, 179, 224, 233, 251, 252, 254, 259, 266

Cahusac, 94, 266

Calmeil, 61

Calvert, 267

Cameron, 182

Campanella, 77

Campbell, 263

Carlyle, 123

Carpenter, 134

Carver, 92, 183, 266

Casalis, 262, 266, 285, 287

Castrén, 285

Catlin, 11

Chamisso, 159

Champfleury, 68

Chappuy, 159

Charcot and Richer, 109

Chardin, 254

Clapperton, 158

Clavigero, 271

Clercq, de, 291

Codrington, 165, 175

Colden, 266

Collins, 182, 285

Combarieu, 108

Cook, 66, 158, 166, 233, 236, 245, 246, 262, 264, 266, 267, 269

Cornish, 194

Crane, 184

Cranz, 66, 152, 165

Crawley, 218, 244

Creuzer, 107

Cruickshank, 160, 175

Cruise, 262

Curr, 67, 152, 159, 226, 235, 246, 279

Czervinski, 266

Dale, 182

Dall, 66

Dalton, 234, 262, 283, 300

Darwin, 32, 33, 48, 187, 189, 191, 194, 195, 198, 201, 232, 238

Davy, 237

Day, 67, 160

Delbœuf, 35

Deschamps, 237

Dieffenbach, 225, 236, 254, 279

Digby, 281

Dobrizhoffer, 180, 226, 268

Düben, 79

Dumont, 32, 35

Dupuis, 267

Dyer, 111

Earle, 154, 262, 276

Ehrenreich, 160

Elliot, 224

Ellis, A. B., 220, 224, 226, 233, 279, 291, 295

Ellis, Havelock, 19, 218

Ellis, W., 66, 179, 233, 244, 262, 267, 268

Elworthy, 217

Emmanuel, 106, 109

Engel, 24, 95

Erman, 160, 174

Espinas, 84, 188, 192, 199

Eyre, 160, 233, 268

Faguet, 59

Farrer, 271, 285

Fechner, 40

Féré, 30, 40, 44, 94, 199, 252, 256, 257

Fewkes, 170

Figuier, 61

Finsch, 175, 215, 216, 220, 227, 269, 272

Fison, 182

Flaubert, 40

Forbes, Fr. E., 179, 251, 262

Forbes, H. O., 180, 235

Fornander, 161, 178

Fouillée, 76

Fraser, 153, 225, 262, 284

Frazer, 182, 219, 226, 278, 279, 280, 283, 284, 287, 293

Freycinet, 67

Fritsch, 216, 237, 248, 262, 263

Fytche, 226

Gaidoz, 286

Gason, 67, 283

Gautier, 4

Geddes and Thomson, 189

Gill, 160, 178, 179, 233, 244, 255

Godden, 222, 226

Godfernaux, 44, 94

Goethe, 105

Goncourt, 40, 68, 80

Gooneratne, 291

Gratiolet, 32

Grey, 159, 178, 267

Grimm, 283, 284

Groos, 20, 26, 27, 59, 75, 78, 108, 146, 156, 172, 197, 199,
200, 232, 261

Grosse, 8, 87, 92, 225, 270

Grove, 254, 284

Guaita, 289

Gurney, 230

Guyau, 8, 13, 19, 28

Haddon, 147, 184, 225, 287, 300

Hall, 220

Hamilton, Aug., 275

Hamilton, W., 33, 37, 51, 54

Hanslick, 7

Hansson, 122

Harless, 80

Harnack, 130, 136

Hartland, 67, 219, 278, 280, 284

Hecker, 68

Heckewelder, 266

Hein, 271, 273, 274

Hellwald, 197

Helvetius, 61

Hemsterhuis, 122

Hennequin, 8

Herckenrath, 59

Heriot, 225, 268

Hernsheim, 262

Hickson, 235

Higgins, 169

Hill, 111

Hill and Thornton, 237

Hirn, 36, 46, 54, 116, 169, 170, 199, 275

Hirth, 135

Hoffman, 176

Hoffmeister, 237

Hogarth, 76

Holmes, Edm., 134

Holmes, William H., 147

Holub, 237

Holz, 117

Home, 76, 155

Howitt, 182

Hudson, 26, 198, 231

Humboldt, 212

Hyades, 164, 165, 237

Im Thurn, 158, 176, 226

Jacobowski, 94

Jagor, 235

James, 44, 48, 51-53

Jefferies, 61

Joest, 66, 212, 220, 222, 233, 234, 267, 272

Johnston, 226, 244, 246, 248

Johnstone, 92, 248, 276

Jouffroy, 75

Kane, 167

Kant, 2, 8, 32

Keating, 67

Kidd, 248

Kierkegaard, 38, 63

Kingsley, 152, 159, 174, 224, 226

Kirby, 220

Kleinpaul, 217

Kleinschmidt, 165, 262

Koeler, 225, 233

Kolbe, 263

Kollman, 257

Kotzebue, 159, 279

Kreemer, 284

Kubary, 220, 221, 265

Kussmaul, 151

Lafitau, 262

Lagrange, 256

Laing, 180, 217, 233, 259

Landa, de, 291

Lander, 67, 158, 226

Lang, A., 67, 279, 283

Lang, G., 237, 266

Lange, Carl, 44, 54, 62, 97

Lange, Julius, 105, 134

Le Bon, 82

Leconte de Lisle, 137

Lehmann, 31, 33, 34, 46, 54, 58

Lenormant, 287

Lenz, 160, 255

Lessing, 60

Lethermann, 166

Letourneau, 271

Levertin, 159

Lewin, 234, 235, 254, 262, 300

Lichtenberg, 96

Lichtenstein, 11

Lindsay, 194

Lippert, 209, 212, 224

Lipps, 75, 76

Lisiansky, 216

Livingstone, 265

Lloyd, G. T., 167

Lloyd, L., 189

Lobeck, 59, 65

Logau, 38

Lombroso, 40

Lubbock, 166, 174, 220

Lucretius, 293

Lukianos, 266

Lumholtz, 67, 285

Lütke, 220, 245, 262

Macpherson, 270

Magitot, 208

Mallery, 151, 152, 153, 156, 157, 176, 227

Man, 67, 222, 224

Maning, 270

Mann, 265

Mantegazza, 32, 50, 229, 267

March, 10, 134, 147

Markham, 179, 236, 254

Marques, 233, 262

Marryat, 274

Marsden, 219, 234, 235

Marshall, H. R., 6, 22, 24, 25, 34, 35-37, 40, 54, 57, 66

Marshall, W. E., 224

Martial, 164

Martin, 92, 235

Mason, 255

Mathew, 159, 233

Mathews, 233, 247

Matthews, 166, 292, 295

Maupassant, 94

Metz, 159, 217

Meyer, 177

Michelet, 40, 68, 110

Mill, 100

Milton, 282

Mitchell, 261

Molière, 64

Mollien, 160

Mooney, 172

Morgan, 11, 236, 266

Moseley, 216

Motolinia, 287

Mouat, 67

Müller, Fr., 233, 234

Muller, H., 259

Mulsant, 196

Mundy, 262

Musters, 279

Nachtigal, 233

Nagele, 271

Nevill, 237

Nietzsche, 103, 113

Nilsson, 189, 194, 201

Noiré, 255

Nyrop, 286

Oldfield, 158

Oviedo, 179

Papin, 281

Paracelsus, 282, 285

Parker, 182

Paulhan, 44, 51

Péron, 67

Perraud, 108

Peschel, 285

Petherick, 160

Poe, 122

Polack, 92, 159, 175, 179, 257, 270, 272

Posnett, 179, 276, 298

Poulton, 201

Powers, 262, 284, 287

Preller, 65

Preyer, 80

Pritchard, 67, 179, 268

Quilter, 131

Raffles, 290

Rafinesque, 156

Ralston, 283, 284

Rapp, 112

Ratzel, 218, 259

Read, 10

Reade, 11, 254

Réclus, 59, 173, 217, 293, 300

Reeves, 245, 262

Rengger, 253

Ribot, 40, 44, 63, 188

Richardson, 270

Rienzi, 92, 160, 233, 235, 259

Ritchie, 12

Robley, 66, 175, 222, 225

Rochas, 280, 281, 287, 290, 294

Rohde, 112

Romanes, 151, 194

Romilly, 165, 244, 272, 287

Roth, Ling, 67, 224

Roth, W. E., 153, 158, 216, 226, 237, 283

Ruskin, 6, 107, 181, 134

St. John, 160

Salvado, 254, 267

Sarasin, 224, 237, 244

Savage, 244

Sayce, 151, 153

Scherer, 60

Schiller, 8, 26

Schlegel, 87

Schmeltz, 175, 217, 220

Schmidkunz, 74, 79, 257

Schmidt, 237

Schneider, G. H., 192, 199

Schneider, W., 66, 160, 217, 222

Schomburgk, 265

Schoolcraft, 66, 166, 183, 265, 266, 276

Schürmann, 233

Schurtz, 206, 217, 218, 246, 291

Schweinfurth, 175, 268

Scott, 238

Seckendorff, 95

Selenka, 235, 274, 284, 287

Seneca, 24

Shelley, 59

Shooter, 179, 268

Shortland, 154, 225, 259, 262

Sirr, 217

Sittl, 59

Skeat, 283, 287, 290, 291

Smith, Adam, 74, 84

Smith, E. R., 255

Smyth, 66, 224, 259, 262

Soldi, 284

Somerville, 217

Souriau, 89, 256

Sparrman, 233, 263

Spencer and Gillen, 152, 167, 173, 219, 226, 233, 237, 280

Spencer, Herbert, 8, 21, 26, 37, 48, 49, 51, 67, 76, 79, 92, 109,
165, 166, 170, 179, 198, 222, 226, 229, 246, 248, 253, 258, 259,
261, 263, 267, 268, 279, 287

Sproat, 267

Stanley, 77

Starcke, 226

Stein, 130, 136

Steinen, 153, 156, 161, 168, 176, 216, 222, 224, 226, 268

Stern, 75

Stevens, 224

Stevenson, M. C., 283, 284

Stevenson, T. E., 284

Stewart, 53, 74, 76, 77, 80, 153

Stirling, 152, 226, 227

Stokes, 227

Stoll, 61, 79, 285, 292

Stolpe, 10, 223

Stout, 36, 37, 44

Strange, 196

Stricker, 77

Sturt, 79

Sully, 54, 57

Sully-Prudhomme, 95, 99

Svoboda, A., 217, 300

Svoboda, W., 177

Swettenham, 79

Symons, 122

Taine, 6, 23, 118, 119, 130, 131, 134

Taplin, 159, 160, 224, 226, 233, 251

Tarde, 74, 94, 149, 287

Taylor, 59, 66, 67, 287

Tennent, 237

Tennyson, 64

Tetens, 220, 262

Thompson, 76, 91, 97

Thomson, 254, 262, 268

Tolstoy, 134

Turner, 233, 254

Tylor, 151, 152, 153, 155, 172, 219, 285

Vancouver, 233

Van Dyke, 139

Van Ende, 84, 198

Varigny, 161

Vernon Lee, 76, 91, 97

Vischer, Fr. Th., 6, 23, 118

Vischer, Robert, 75

Vodskov, 259

Wagner, 70, 124

Waitz, 217

Walhouse, 291

Walkley, 59

Wallace, 12, 26, 189, 190, 191, 192, 198

Wallaschek, 12, 87, 106, 230, 261, 263

Ward, 183, 226

Weddel, 79

Welcker, 59

Westermarck, 190, 193, 205, 209, 212, 215, 216, 220, 227

Weston, 283

Wilken, 216, 222

Williams, 165, 262, 283

Wilson and Felkin, 158

Winterbottom, 254, 285

Wissman, 254

Woldt, 287

Wood, 152, 265, 268, 269, 270, 271

Woods, 159, 160, 224, 233, 251, 262, 279, 283

Wundt, 62, 221

Wuttke, 222, 223, 224, 226, 271

Wzn, 291

Zacher, 284

Ziegler, 200

Zoysa, de, 237

INDEX OF SUBJECTS

Acquired pleasure-gettings, 57

Acting, psychology of, 52, 53

Activity and feeling, 32-35;
activity involved in _dolce far niente_, 37

Æsthetic, its position as a science, 1, 2, 4, 5;
its development 1-3;
its methods, 5, 6
feelings, 141
judgment, presupposing some degree of intellectual and moral
development, 188
of the hen, 187;
its development in apparent conflict with natural selection, 189

Agricultural rites, 287

Anæsthesia and self-woundings, 61-65

Ancestor worship, 175

Anger, 47, 48, 54, 62

Animal display, 186-202

Animating idols, means of, 291

Aphasia, 151

Apolline serenity _versus_ Dionysiac rapture, 105

Architecture, the, of the Dyaks, 274;
of the Maoris, 275

Art, as explained by supernatural causes, 12;
as excitement and sedative, 70, 71;
as connected with sexual selection, 203-213;
its higher and lower forms, 140
the, of animals, 202
the reliever, 102-110

Art-impulse, the, 15, 18-29, 84, 85, 100, 101, 303;
a racial possession of mankind, 21, 22;
intellectualistic definitions, 23

Art-sense, the conditions of its development, 141, 142

Artistic intuition, 125

Association between pleasure and activity, 33

Attract by pleasing, impulse to, 24, 25, 186, 187, 214, 215, 233 _sq._

“Attractive” qualities of the work of art, 99

Autotelic activities outside the department of art, 19, 20;
character of art, 7-15, 88, 304

“Balls on sockets,” 193

Bird-shaped amulets, 287

Boasting adornments, 222

Boating-songs and dances, 259, 260

Brilliancy, the physiological effects created by, 194-197

Choral dances, 261

Chorus, the, in the ancient drama, 94

Classification of instances of erotic art, 231-238

Clothing, the origin of, 204-206, 215-220

_Cognitio sensitiva_, 2

Collective feeling, 81, 82
psychology, 74-85

Consciousness of self, 62-64

Contempt, expression of, its importance in primitive tactics, 268, 269

Couvade, 280

Coyness of the female, 197, 198

Creation, artistic, involved in artistic enjoyment, 18, 19

Criterion of art, the, 7 _sq._

Crying feasts and ceremonial wailings, 59

Cure, medical, of restoring people by pulling them through a narrow
opening, 285, 286

Dance, 87, 89, 92, 230

Dances, choral, 262;
common to both sexes or separate, 230, 231;
connected with sexual selection, 233-235;
with war, 266, 267;
with work, 251, 253, 254

Dance-pantomimes, obscene, 233, 245

Dancing girdles, 215

Deaf-mutes, their language, 151, 155

Death and resurrection represented in primitive drama, 182-184

Decoration, bodily, subserving a commemorative purpose, 223;
used as a means of frightening, 272;
as a means of individual and tribal identification, 225-227;
as magical protection, 218, 224;
denotes civic majority, 220;
executed in order to protect the skin, 224;
denoting rank or wealth, 222

Decorative art, the, of military tribes, 277

Demon-shields of the Dyaks, 272-274

Dignity, 116

Dionysiac state, the, 64, 65, 105, 109, 112, 113

Dionysos, god of art and music, 110

Disinterestedness, the, of artistic activity. _See_ Autotelic
Character of Art

Drama, the earliest of imitative arts, 149, 150

Dramatic element, the, of art, 95-98

“Einhaltsstreben,” 150

Emanations, magic theory of, 281, 293

Emotional element, the, in art, 137-139, 303

Emotions, the psychology of, 42-55;
connection between emotions and movement-sensations, 44-47

Enjoyment of pain, 55, 56-71

Enlistment, dances of, 266

Ephemeral character of primitive art, 161

Epic element, the, in art, 98, 99

Epidemics, mental, 69, 81

Erotic art, 238-248;
dearth of information on, 229, 244;
spurious instances of, 245
gestures and pantomimes used as expressions of joy, 243, 244
pantomimes and dances performed with a moral intention, 247, 248
poems, 235, 236, 246
propitiation, 234-236

Etiological myths, 171, 172

Euhemerism, 168, 169

Europeans as subjects of primitive art, 160, 166, 167, 178

Experimentation, plays of, 145

Expression of feeling, 41, 42, 47-54;
primary and secondary forms of expression, 42, 47, 52, 68, 69, 199;
expression as a mythogenic factor, 93, 94

“Expressive qualities,” the, of nature, 98

Extempore design, 156, 161

“Faculté maîtresse,” 118-120, 126

Fandango, apologue concerning the, 89

Fascination, 103

Fear, 52, 54, 103

Feeling-tone of sensation, 30-42;
experiments on sensation, feeling and movement, 31;
dynamic conditions of feeling, 32-35;
static conditions of feeling, 35;
association between pleasure and movement, 33;
pains of restriction, 38;
pain as motor incitement, 40, 66, 253;
relative character of pleasure and pain, 56, 57;
acquired pleasure-gettings, 57;
the philosophical importance of pain, 63, 64

Festal development of art, 111

“Foreign” purposes, the, in art, 10-12, 15-17, 127, 147, 148, 301,
304-306

Form and content, 139

French and English art, difference between, 131

Funeral ceremonies and art, 300
dances of obscene character, 217

Garrick, the contagious power of his acting, 96

Gesture-language, 151-154

Gracefulness, 116, 275, 276

Grief, 50

Grimacing, its importance for primitive tactics, 270

“Gymnastic” dances, 92

“Happiness” of the unconscious, 69, 70

Higher and lower forms of art, distinction between, 140

Historical art, 164-182, 223
and psychological methods, distinction between, 16, 112, 148, 301
poems used in magical ceremonies, 173

History born of pride, 181

Histrionic factor in literature, 96;
in formative arts, 96, 97

“Homo sapiens ferus,” 151

Humiliation, 46, 50

Hunting and fishing rites, 285, 287

Idea, the, its place in German-æsthetic systems, 23, 118

Ideal of beauty, the, and sexual selection, 202, 213, 241, 242

Idealistic schools of art, 132

Idols, 174, 288, 291

“Illusions particulières” _versus_ essential qualities, 128, 129

Imitation, impulse to, 24;
connected with the instincts, 75
sympathetic, 59, 74-85, 96
_See_ Internal Imitation, Pathologic Imitation

Impregnation by wind, rain, or sunshine, 219

Indispensability of accustomed sensations, 58

_In effigie_ sentences, 287

Information and art, 149-163, 184, 185

Instantaneous muscular exertion, power of, 252, 253

Insular life, its influence on art, 259

Intellectual elements of the artistic activity;
their influence on the mental state of the artist, 102-107

Invention in primitive art, 160, 161

Jakalele dance in Ceram, 266, 267

Joy, 48;
distinguished from the sense of comic, 48, 49;
pantomimic expression of, 92-94, 244

“Kina” (Fuegian drama), 165

Limited amount of energy, 36, 37

Lustre. _See_ Brilliancy

Luxury of sentimental sorrow, 51.
_See also_ Enjoyment of Pain

Lyre and flute, allegory of, 107

Maenads, 65, 108-110, 112

Magic and art, 278-297
two classes of, 278, 279;
by connection, 279-282, 291-294;
by likeness, 282-290;
expedients for acquiring courage in war, 265;
power of the obscene, 217;
pantomimes, 11;
songs, 288, 295

Masses, psychology of. _See_ Collective Psychology

Means of attraction, 203-213

Medical rites, 284, 287

Military dances, 265, 266;
used as salutation, 92, 93;
performed before female spectators, 229
dresses and uniforms, 270;
ensigns, 271;
signals, 263

Modesty and clothing, 216-218

Moko tattooing used as a means of identification, 175, 225

Moods of sadness deliberately enhanced, 51

Moral influence of art, 108

Movement-perception, the dynamogenic influence of, 257

Music, 87

Narrative art, its simplest forms, 157-161

Novelty, predilection for, 208

“Opisthotonos,” 109

Ornament, concealed meaning of, 10
and mimetic transmission of feeling, 98
and rhythm, 91

Ornaments, the, of the Dyaks, 272-274;
of the Maoris, 275, 276

Pain, pantomimic expression of, 39, 40, 93, 94. _See also_ Feeling-tone

Pantomimics, erotic, 233-235, 245-248;
magic, 11, 283, 284;
military, 265, 266;
narrative, 152-155;
representing work, 250-252, 257

Parnassians, 136, 137

Pathologic imitation, 79

Petroglyphs, 175, 176

Phallic amulets, 217;
rites, 284, 287

Phallocrypts, 215, 216

Pictographs, 149, 155-157, 161

Pictorial art, the, of the Bushmen, 237;
prayers, 285

Play, as connected with art, 29;
with exercise, 250, 251;
with the instincts, 27

Play-impulse, 26-28, 145, 146, 250

Please, impulse to, 24, 25

Pleasure. _See_ Feeling-tone

Political propitiation and art, 299

Portraiture, commemorative, 174, 175

Practical motives for clothing and self-decoration, 216, 224

Præsul, 257

Preliminary movements, their dynamogenic influence, 256

Pride, 46, 137, 181, 222, 268

Proportion, 117

Rain-making and rain-preventing, 283, 284

Realism and magic, 289-290

Realistic movement in literature, 117, 118

Recognition marks, 190

Religious doctrines influencing erotic art, 246

Repugnance for qualities deviating from the tribal type, 209, 210

Retroaction from sympathisers, craving for, 84

Rhetoric, primitive, 154

Rhythm, 87-91, 258-260

Salutation dances, 92

Sand paintings, the, of the Navajos, 292

Scarification, 61, 66, 67

Scars of the Australians explained by Koeler as means of
identification, 225

Science as an end in itself, 19, 20

Secondary sexual characters, 190-192;
activities, 191

Selbstzweck. _See_ Autotelic Character of Art

Self-exhibiting impulse, 25

Self-woundings, 61, 66, 67

Sentimentalism, 136, 137

Sex-distinction, marks for accentuating, 192, 209

Sexual ideal, 204, 213, 242

Social conditions influencing erotic art, 238-242;
expression, 72-85, esp. 83-85

Solidarity of suffering between members of the same family, 279

Songs, ephemeral, 159, 160;
erotic, 235, 236, 246;
exhorting to work, 254, 255, 259;
magic, 255, 256, 288, 295;
military, 267-269

Sport as end in itself, 20, 21

Storage of nutritive supply, 36, 37

Sucking cure, 285

Sun-rituals, 284

Superstitious motives for clothing, 217-219, 224

Surplus of vigour, 26, 198

Symmetry, 117

Sympathetic imitation, 59, 74-85, 154, 155;
magic. _See_ Magic

Tangi, 59

Technical medium, the, of art, 145;
perfection in art, 135, 139, 303

Technique, its influence on decorative art, 146, 147

Theatrical management and _régie_ among the Australians, 237

Theurgic rites, 284, 288

Time-sense, its high development among primitive tribes, 262

Trade-dances, 252

Traditions, primitive, preserving the memory of European visitors,
166, 167, 178

Tragedy, enjoyment of, 59

Transference of energy, 36, 37

Travels described in primitive art, 158-160, 178

Trophies, 221

Universal ideas, their importance in æsthetic systems, 130;
their place in primitive philosophy, 296

Vehicles of emotional transmission, 120-124

Vital sensation and pain, 60-65

Volts, 286

War, its social influence, 261;
its influence on art, 261-277;
on plastic beauty, 276;
on decorative art, 275-277;
a prominent subject in history and narrative art, 178-180;
the need of stimulation for, 263

Werther, 104, 105

Witches, Bacchantes, and hysteric patients, 109

Wordless tribes, stories about, 152

Work, stimulation to, 252-257;
regulation of, 88, 257-260;
and art, 12, 88, 249-260

THE END

_Printed by_ R. & R. CLARK, LIMITED, _Edinburgh_.

FOOTNOTES:

[1] _Förstudier till en konstfilosofi_, Helsingfors, 1896. A summary in German of this book can be read in _Zeitschrift für Psychologie und Physiologie der Sinnesorgane_, Bd. xvi. pp. 233-235.

[2] Baumgarten, _Aesthetica_, pp. 1, 3, 6 _sq._

[3] Bosanquet, _History of Æsthetic_, pp. 173, 187.

[4] Cf. _e.g._ Hanslick, _Vom musikalisch Schönen_, p. 3.

[5] Kant, _Kritik der Urtheilskraft_, p. 147, to be compared with Kant’s chapters on beauty.

[6] Schiller, _Über die ästhetische Erziehung des Menschen_, _passim_.

[7] Spencer, _Principles of Psychology_, ii. pp. 628, 632. Cf. also the extracts from a letter written by Mr. Spencer to M. Guyau, quoted in _Les problèmes de l’esthétique contemporaine_, p. 18.

[8] Hennequin, _La critique scientifique_, pp. 26-28.

[9] Grosse, _Die Anfänge der Kunst_, pp. 46, 47.

[10] Grant Allen, _Physiological Æsthetics_, pp. 32, 33.

[11] Cf. Kant, _l.c._ p. 66.

[12] Guyau, _Les problèmes de l’esthétique contemporaine_, livre i.

[13] Cf. Stolpe, _Utvecklingsföreteelser i naturfolkens ornamentik_, i.-ii. in Ymer, 1890-1891. An English translation by Mrs. H. C. March is published in _Transactions of the Rochdale Literary and Scientific Society_, 1891. Read, “On the Origin, etc., of Certain Ornaments of the S. E. Pacific,” in _Journ. Anthr. Inst._ xxi. Cf. also March, “Polynesian Ornament, a Mythography,” in _Journ. Anthr. Inst._ xxii.

[14] Catlin, _Illustrations_, etc., i. pp. 127, 128, Mandan buffalo dance. A similar dance among the Iroquois has been described by Morgan (_Iroquois_, p. 287), who does not, however, speak of any magical purpose. Although somewhat differently explained by Catlin, the Sioux bear dance (_l.c._ i. p. 245) is no doubt as magical in its intention as the buffalo dance. The same interpretation holds good also, we believe, with regard to the gorilla dance of the Negroes (Reade, _Savage Africa_, pp. 195, 196) and the hunting pantomimics of the Koossa Kaffirs (Lichtenstein, _Travels_, i. p. 269).

[15] Wallace, _Darwinism_, pp. 467, 468.

[16] For a direct opposition to Mr. Wallace’s views on this point see Wallaschek, _Primitive Music_, pp. 278, 279. Cf. also Ritchie, _Darwinism and Politics_, pp. 110-114.

[17] Cf. Guyau, _Les problèmes de l’esthétique contemporaine_, pp. 15, 24.

[18] For this characteristic term I am indebted to Professor J. M. Baldwin.

[19] Cf. chap. ix. in the sequel.

[20] Some brilliant and suggestive remarks on this point may be found in Guyau, _Les problèmes de l’esthétique contemporaine_, p. 12; and in Havelock Ellis, _The New Spirit_, pp. 234-236.

[21] Groos, _Die Spiele der Menschen_, pp. 508, 509.

[22] Spencer, _Principles of Sociology_, vol. iii. pp. 201-231.

[23] This view, viz. that the æsthetic cravings are a “racial” possession of mankind, has been clearly and consistently maintained by Marshall, cf. _Æsthetic Principles_, p. 70; _Pain, Pleasure and Æsthetics_, pp. 100, 101.

[24] Vischer, _Ästhetik_, vol. i. p. 53; vol. iii. pp. 3-10.

[25] Taine, _Philosophie de l’art_, pp. 57-70.

[26] Engel, _Ideen zu einer Mimik_, i. p. 97.

[27] Cf. as to the significance of this process, and its connection with the imitative process, Baldwin, _Mental Development_, p. 264.

[28] Marshall, _Æsthetic Principles_, p. 62; cf. _Pain, Pleasure, and Æsthetics_, p. 104.

[29] Cf. chapters xiv.-xvi. in the sequel.

[30] Cf. Marshall, _Pain, Pleasure, and Æsthetics_, p. 104. (“Nor can we with Kant and Schiller hold that the ‘art-impulse’ is especially connected with the ‘play-impulse’ through lack of end, if I am right that an end for art-work is discernible in _attraction through the pleasing of others_.”)

[31] Baldwin, _Social and Ethical Interpretations_, p. 151; cf. pp. 150, 152.

[32] Schiller, _Über die ästhetische Erziehung des Menschen_, esp. Brief 15.

[33] _Ibid._ Brief 27, quoted in Groos, _The Play of Animals_, p. 2.

[34] Spencer, _Principles of Psychology_, vol. ii. pp. 629, 630.

[35] Spencer, “The Origin of Music,” in _Mind_, xv. 452, 453; reprinted in the last edition of _Essays_, ii. pp. 430, 431; Wallace, _Darwinism_, pp. 281, 284, 287, 292; Hudson, _The Naturalist in La Plata_, pp. 280-286.

[36] Wallaschek, “Natural Selection and Music” in _International Congress of Experimental Psychology_, second session, 1892, p. 74; _Primitive Music_, pp. 271, 272. These utterances of Wallaschek ought to be quoted as expressing his views, and not the earlier passage in Mind, 1891, p. 376, from which Groos concludes that Wallaschek agrees with Spencer. Cf. Groos, _The Play of Animals_, p. 6. As early as 1891, Wallaschek pointed out the importance of music and dances as preparations and not only representations of the most important actions in life. Cf. _l.c._ p. 74.

[37] Groos, _The Play of Animals_, pp. 18-24.

[38] Groos, _l.c._ p. 21.

[39] Groos, _Die Spiele der Menschen_, pp. 216-356.

[40] Guyau, _Les problèmes de l’esthétique contemporaine_, p. 9: “On pourrait donc, en continuant la pensée de M. Spencer, aller jusqu’à dire que l’art, cette espèce de jeu raffiné a son origine ou du moins sa première manifestation dans l’instinct de la lutte, soit contre la nature, soit contre les hommes.” Cf. also Guyau, _L’art au point de vue sociologique_, p. 14, where Guyau in a brilliant passage shows how an element of passionate struggle and conquest enters even in the most abstract reasoning. To be compared with the chapters of Groos on _Kampfspiele_.

[41] Féré, _Sensation et mouvement_, pp. 34, 64; cf. _The Pathology of Emotions_, p. 206.

[42] Lehmann, _Hauptgesetze des menschlichen Gefühlslebens_, pp. 89, 95.

[43] Féré, _Sensation et mouvement_, p. 64.

[44] Gratiolet, _De la physionomie_, pp. 47, 53; Darwin, _The Expression of the Emotions_, pp. 80, 207; Bain, _The Emotions and the Will_, pp. 11, 12; Bouillier, _Du plaisir et de la douleur_, pp. 50, 51; Mantegazza, _Physiognomy and Expression_, pp. 114, 115.

[45] Amiel, _Journal_, i. p. 208.

[46] Darwin, _The Expression of the Emotions_, p. 81.

[47] Lehmann, _Hauptgesetze_, pp. 298-301.

[48] Lehmann, _Hauptgesetze_, p. 214.

[49] Marshall, _Pain, Pleasure, and Æsthetics_, pp. 222, 223.

[50] Dumont, _Théorie scientifique de la sensibilité_, pp. 67, 68; Delbœuf, _Éléments de psychophysique_, pp. 182, 191.

[51] Marshall, _l.c._ p. 174.

[52] Cf. Stout, _Manual of Psychology_, pp. 236-239.

[53] Cf. Spencer, _Principles of Psychology_, i. p. 273.

[54] Hamilton, _Lectures_, ii. p. 478; cf. also Bouillier, _Du plaisir et de la douleur_, pp. 52-62.

[55] Marshall, _Pain, Pleasure, and Æsthetics_, p. 213; cf. Dr. Stout’s keen criticism of this explanation, _Analytic Psychology_, ii. pp. 294, 295.

[56] Féré, _The Pathology of Emotions_, pp. 275, 276; Lombroso, _The Man of Genius_, pp. 151, 152; Ribot, _The Psychology of the Emotions_, p. 46 (“Observations on the beneficial effects created on melancholic patients by physical pain”).

[57] _Goncourt, Journal des_, ii. p. 250.

[58] Cf. Fechner, _Vorschule der Aesthetik_, ii. p. 265; cf. also Marshall, _Pain, Pleasure, and Æsthetics_, p. 187.

[59] Bain, _The Emotions and the Will_, pp. 5, 6; cf. also _The Senses and the Intellect_, p. 290; Ribot, _The Psychology of the Emotions_, pp. 97, 112; Féré, _The Pathology of Emotions_, p. 44; Paulhan, _Les phénomènes affectifs_, p. 37; Godfernaux, _Le sentiment et la pensée_, p. 66.

[60] Stout, _Manual of Psychology_, p. 296.

[61] A treatment in detail of this point has been given in my _Förstudier till en konstfilosofi_, pp. 57-59.

[62] Lehmann, _Hauptgesetze_, pp. 308, 309.

[63] Spencer, _Essays_, ii. p. 457.

[64] Cf. James, _Principles of Psychology_, ii. p. 466; Darwin, _The Expression of the Emotions_, p. 76.

[65] Spencer, _l.c._ ii. pp. 456, 457.

[66] For the convenience of treatment we here restrict our attention to those emotional processes the initial stages of which are accompanied by changes of activity in the voluntary muscles.

[67] These linguistic facts might have afforded Professor Mantegazza a further argument in favour of his physiognomical thesis that the expression of injured self-esteem is similar to that of gustatory pain. Cf. Mantegazza, _Physiognomy and Expression_, p. 130.

[68] James, _Principles of Psychology_, ii. p. 463: “Sit all day in a moping posture, sigh, and reply to everything in a dismal voice, and your melancholy lingers.”

[69] Spencer, _Principles of Psychology_, ii. pp. 590, 591. Cf. also with regard to the enjoyment which can by reflection be derived from sorrow, fear, and other pain-emotions, Paulhan, _Les phénomènes affectifs_, pp. 119, 120; Hamilton, _Lectures_, ii. pp. 481-484; Bouillier, _Du plaisir et de la douleur_, pp. 62-72.

[70] Spencer, _l.c._ ii. pp. 623-626.

[71] James, _Principles of Psychology_, ii. pp. 462, 463.

[72] James, _l.c._ pp. 444, 445. It is to be remarked, however, that in the more elaborate statement of his theory, which Professor James has given in _The Psychological Review_, 1894, he pays due attention to the influence by which “expression” may change the tone of an emotion. Cf. especially p. 519 about fear: “when the running has actually commenced, it gives rise to _exhilaration_ by its effects on breathing and pulse, etc., in this case, and not to fear.”

[73] The interesting contributions to the psychology of acting, which have been brought together by Mr. William Archer in his _Masks or Faces_, do not give us much reliable information as to the part which the “expressional movements” play in a deliberate stirring up of an emotion. Even if we were to accept all the testimonies of actors and actresses as a testable evidence, we could scarcely decide whether the emotional state of an actor who plays his part in perfect sincerity is chiefly a result of his losing himself in the fictitious situation, or whether this state follows as a retroaction exercised by the artificial performance of weeping, laughing, sobbing, etc. Cf. Archer, _Masks or Faces_, pp. 133-136. Some interesting remarks on this point can also be found in Dugald Stewart’s _Elements of the Philosophy of the Human Mind_, iii. pp. 168, 185.

[74] James, _Principles of Psychology_, ii. p. 444.

[75] Cf. Lehmann, _Hauptgesetze_, pp. 107-111, where the pain-element of anger is emphasised in opposition to Professor Lange’s description of this emotion.

[76] A detailed account of the various stages of anger has been given by me in _Förstudier till en konstfilosofi_, pp. 73-77. Cf. also Lange, _Nydelsernes fysiologi_, pp. 16-19, and Lange, _Ueber Gemuethsbewegungen_, pp. 28-35.

[77] Cf. Marshall, _Pain, Pleasure, and Æsthetics_, p. 246; Sully, _The Human Mind_, ii. p. 91; Hamilton, _Lectures_, ii. p. 483. It cannot be denied, however, that terror often becomes intensified as a painful feeling in proportion as the heart-beatings, the quiverings, and all the other active manifestations increase.

[78] Marshall, _Pain, Pleasure, and Æsthetics_, p. 226; cf. Sully, _The Human Mind_, ii. p. 34.

[79] Lehmann, _Hauptgesetze_, pp. 195, 196.

[80] Taylor, _Te Ika A Maui_, p. 175, on the Tangi feasts in New Zealand; Welcker, _Kleine Schriften_, i. pp. 26-31; Sittl, _Gesch. d. griech. Literatur_, i. p. 24. For a sympathetic interpretation of such feasts of sorrow see Réclus, _Les primitifs_, pp. 239, 240. Cf. also the remarks of Lobeck, _Aglaophamus_, i. pp. 688-690, and Groos, _Die Spiele der Menschen_, p. 38.

The above adduced instances show us that even the art of primitive man does not bear out the views recently brought into prominence by Herckenrath and Faguet (Faguet, _Drame ancien, drame moderne_, pp. 2, 7, 12), and so ably stated by Mr. Walkley (_Frames of Mind_, pp. 1-7), according to which the enjoyment of tragedy as well as that of comedy can be reduced to a malevolently pleasurable consciousness of our own security in contrast to the sufferings of others. Comparative psychology tends far more to support those authors who contend that in tragedy we enjoy that pleasure which inherently exists in sorrow itself. Cf. Shelley, _A Defence of Poetry_, p. 35.

[81] Lobeck, _Aglaophamus_, i. p. 688. “De hoc universo genere dicere licet id quod res habet, hominis naturae quodam instinctu ut laetandi ita lugendi causas sibi fingere; unde est, quod aliena funera sequuntur, quod ignotis sepulchris adsident, quod praeteritorum malorum memoriam refricant.”

[82] Lessing, _Gelehrter Briefwechsel_, pp. 145, 146, quoted in Bernays’ _Zwei Abhandlungen_, p. 144. Cf. also Scherer, _Poetik_, p. 112. Scherer, who thinks that the phrase “Bewusstsein unserer Realität” is too abstract in its wording, proposes in its place “Freude an uns selbst” (delight in ourselves).

[83] Helvetius, _De l’esprit_, discours iii. ch. v.

[84] Jefferies, _The Story of My Heart_, especially p. 128; Bashkirtseff, _Journal_, ii. pp. 126, 531, 532; cf. also i. pp. 66, 67; ii. pp. 115, 290.

[85] The purely pathological motives of the self-woundings of Christian fanatics appear with unmistakable clearness from the instances that have been collected in medical literature, cf. especially Calmeil, _De la folie_, ii. pp. 327, 328, 375-380, 384, 404, 405; Figuier, _Hist. du merveilleux_, i. pp. 372, 373, 376, 379; Stoll, _Suggestion und Hypnotismus_, pp. 362-365. We need not dwell in this connection upon the sexually exciting effects which may be created by flagellation. This point has been sufficiently elucidated by the above-mentioned authors.

[86] Lange, _Gemüthsbewegungen_, pp. 33, 34.

[87] Wundt, _Philosophische Studien_, vi. pp. 351, 352 (Zur Lehre von Gemüthsbewegungen).

[88] Brinton, _The Pursuit of Happiness_, p. 18.

[89] Kierkegaard, _Enten Eller_, i. pp. 23, 24.

[90] Ribot, _The Psychology of the Emotions_, p. 376.

[91] On the self-woundings of the Maenads cf. Preller, _Griechische Mythologie_, i. 2. p. 656; Lobeck, _Aglaophamus_, i. p. 672.

[92] Cf. Marshall, _Pain, Pleasure, and Æsthetics_, p. 259.

[93] For a copious collection of instances see Joest, _Tätowiren_, pp. 34, 35; Schneider, _Die Naturvölker_, i. pp. 111-113; cf. also Smyth, _Victoria_, i. p. 112 (The Narrinyeri); Cranz, _Historie von Grönland_, ii. p. 331; Dall, _Alaska_, p. 417 (The Kygani); Schoolcraft, _Information_, iv. p. 66 (Dacotas); v. p. 168 (Kenistenos); Ellis, _Polynesian Researches_, i. p. 410 (Tahiti); Cook. (1st) _Voyage_, p. 104 (Tahiti); Taylor, _Te Ika A Maui_, p. 102 (Maoris).

[94] It cannot be denied, however, that in many cases the self-wounding is executed as a traditional, superstitious, or sacrificial rite. The Maori funeral ceremonies, in which the apparently impulsive and exalted cutting is “done with considerable method and regularity, so as to make the scars ornamental rather than otherwise,” can thus scarcely be adduced as a genuine instance of emotional expression. Cf. Robley, _Moko_, p. 46. Still less are we entitled to speak in this connection of those Polynesian funeral ceremonies in which the survivors lacerate themselves and allow the blood to drop on the face of the corpse or under its bier. Cf. the instances of such superstitious self-woundings collected in Hartland, _The Legend of Perseus_, ii. pp. 241, 321-325.

[95] On woundings in medical cures, cf. esp. Bartels, _Medicin der Naturvölker_, pp. 267-271; Curr, _The Australian Race_, ii. pp. 69, 70 (The Dieyerie Tribe, by Gason); Ling Roth, _Tasmania_, pp. 75, 76; Man, _Journ. Anthr. Inst._ xii. p. 85 (Andamanese); Mouat, _Andaman Islands_, p. 307; Bourke, _Rep. Bur. Ethn._, 1887-88, p. 471 (Medicine-men of the Apache. Scarification resorted to in order to relieve exhaustion); Keating, _Narrative of an Expedition_, i. p. 226, quotes the interesting conceptions entertained by the Sauks and Foxes as to the result of lacerations. The wounds are inflicted at funerals, “not for the purpose of mortification, or to create a pain, which shall, by dividing their attention, efface the recollection of their loss, but entirely from a belief that their grief is internal, and that the only way of dispelling it is to give it a vent through which to escape.” There seems to be no doubt that similar notions have led to the curing of bodily pain by bleeding.

As to laceration as a means of overcoming humiliation see Curr, _l.c._ ii. p. 70 (Dieyerie). Even joy, when abnormally strong, seems often to express itself in this way. Ellis, _Pol. Res._ i. p. 410 (Tahiti); Pritchard, _Pol. Rem._ p. 138 (Samoa); Péron, _Voyage_, i. p. 227 (Tasmanians, who scratch themselves in the face and tear the hair in their enthusiasm, when hearing the Marseillaise performed); Bernier, _L’art du comédien_, p. 310.

As connected with the emotion of joy we may also explain the occurrences of self-woundings at meetings between friends. Cf. esp. Lumholtz, _Among Cannibals_, pp. 224, 225. It is not to be overlooked that in many tribes friends express their delight at meetings by a ceremonial weeping and wailing. Cf. Man, _Journ. Anthr. Inst._ xii. p. 147; Day, _Proc. As. Soc. Bengal_, 1870, p. 157, both on the Andamanese; Batchelor, _The Ainu_, p. 105; Taylor, _Te Ika A Maui_, p. 103; Angas, _Savage Life_, ii. pp. 32, 73, 109, all on New Zealand; Freycinet, _Voyage_, ii. p. 589 (The Sandwich Islands); Lander, _Journal_, i. pp. 148, 149 (Yoruba Country); and the instances quoted in Spencer, _Principles of Sociology_, ii. pp. 20, 70, 71. As this apparently paradoxical expression can be explained in many cases as a conventional ceremony, which is not accompanied by any genuine feeling, so the self-wounding may often be a purely ritual observance. But although some of the above adduced instances can thus be considered as spurious, we nevertheless feel right in assuming that an impulsive creation of pain is generally to be derived from the psychical conditions accompanying high-strung emotion. This is also the conclusion at which Mr. Brinton and Mr. Andrew Lang have arrived. Cf. Brinton, _Religion of Primitive Peoples_, p. 213; Lang, _The Making of Religion_, p. 310.

[96] We need only refer to such periods as the fifteenth century and the time of the great revolution. As to the abnormally exaggerated craving for amusement during these unhappy times, cf. especially the remarks of Michelet, _Histoire de France_, iv. pp. 406, 407; Champfleury, _Hist. de la caricature sous la république_, pp. 275, 279; Hecker, _Volkskrankheiten_, pp. 152, 153; _Goncourt, Journal des_, ii. pp. 180, 181; and the Introduction to Boccaccio’s _Decamerone_.

[97] Smith, _Theory of Moral Sentiments_, pp. 4, 5. Cf. the important elaboration of this theory in Dugald Stewart, _Philosophy of the Human Mind_, iii. pp. 171, 174.

[98] Cf. especially the works of Tarde, Schmidkunz, Baldwin.

[99] Cf. Groos, _The Play of Animals_, pp. 72, 76 _sq._ 182.

[100] There can be no question, in this connection, of entering upon the debate between the adherents of Robert Vischer, Groos, and others, and the associationists, Lipps and Stern, who wish to put other notions, such as recognition or “Verschmelzung” instead of the imitation. Whatever reason Dr. Stern may have to criticise the _formulation_ of the German æsthetic theories of visual intuition, we do not see that he has been able to refute them in their _fundamental_ points. Cf. Stern, _Einfühlung und Association_, passim.

[101] Jouffroy, _Cours d’esthétique_, pp. 29, 256, 259, 261.

[102] Vernon Lee and Anstruther Thompson, “Beauty and Ugliness,” in the _Contemporary Review_, vol. xxii. 1897; cf. especially pp. 357, 544, 548, 550, 554.

[103] Home, _Elements of Criticism_, i. pp. 178-181.

[104] Cf. Hogarth, _Analysis of Beauty_, pp. 26-28.

[105] Dugald Stewart, _Philosophical Essays_, pp. 402-404, 408 (“On the Sublime”).

[106] Spencer, _Essays_, ii. p. 386 (“Gracefulness”).

[107] Cf. Vernon Lee and Anstruther Thompson, _l.c._ pp. 550, 686, 687; cf. also Fouillée, _Psychologie des idées-forces_, ii. pp. 59-64.

[108] Prof. Lipps, who does not believe in an “internal imitation,” says that the anthropomorphic interpretation of outward reality “rückt uns die Dinge näher, macht sie uns vertrauter und damit zugleich vermeintlich verständlicher” (“brings the things nearer to us, makes them more familiar, and thereby produces an illusion that they are more comprehensible”). According to the view which we have adopted above, the gain in comprehensibility is real, and not only illusory. Cf. Lipps, _Raumaesthetik_, p. 6.

[109] Cf. with regard to the above argument the chapter on movement-perception in Stricker’s _Die Bewegungsvorstellungen_, especially pp. 20, 21. Cf. also the remarks in Dugald Stewart, _Philosophy of the Human Mind_, iii. pp. 10, 11, 157.

[110] Cf. the often-quoted story of Campanella’s device to divine the thoughts of people by imitating their behaviour, as told, for example, in Burke’s _The Sublime and the Beautiful_, pp. 98, 99. Mr. Stanley quotes one of Poe’s tales, in which the same trick is used by a detective (_Evolutionary Psychology of Feeling_, p. 364).

[111] Cf. Groos, _Die Spiele der Menschen_, p. 430.

[112] An almost simian tendency to imitation has been noticed among several primitive races, such as the Australians (Spencer, _Descr. Soc._ Div. i. No. 3, p. 5, quoting Sturt) and the Fuegians (Spencer, _ibid._ quoting Weddel).

As is well known, imitation is in tribes of a hysterical disposition, such as the Malays and the Lapps, apt to become an endemic disease. Cf. with regard to the Malays, Swettenham, _Malay Sketches_, pp. 70-82; Stoll, _Suggestion und Hypnotismus_, p. 74; with regard to the Lapps, Düben, _Lappland_, p. 192; Schmidkunz, _Psychologie der Suggestion_, p. 199. Instances of contagious mental diseases and pathological imitation among civilised nations are too familiar to be enumerated.

[113] Cf. Baldwin, _Mental Development_, p. 403.

[114] Preyer, _Die Seele des Kindes_, p. 228; cf. Harless, _Lehrb. d. plast. Anatomie_, p. 125, and Dugald Stewart, _Philosophy of the Human Mind_, iii. pp. 6, 7, 193, 194.

[115] _Goncourt, Journal des_, i. p. 281:—Hier j’étais à un bout de la grande table du château. Edmond à l’autre bout causait avec Thérèse. Je n’entendais rien, mais quand il souriait, je souriais involontairement et dans la même pose de tête.... Jamais âme pareille n’a été mise en deux corps.

[116] Cf. especially Binet, _Le fétichisme dans l’amour_, p. 248.

[117] For a treatment of the interindividual transmission of feeling, in which the chief points of modern theories on mob-mind are anticipated, see Dugald Stewart, _Philosophy of the Human Mind_, iii. pp. 208-211.

[118] Féré, _The Pathology of Emotions_, p. 212.

[119] _Lancet_, 1886, i. pp. 312, 313, quoted in Aubry, _La contagion du meurtre_, pp. 220-223; Le Bon, _Psychologie des foules_, p. 46.

[120] We need scarcely remark, in this connection, that every unhappy experience awakens the craving for assistance and consolation, and therefore indirectly gives rise to an effort to create sympathy. This point must, however, be passed over when treating of impulsive, purely emotional manifestations. As to the pleasures and consolations of mutual sympathy, compare, moreover, Smith, _Theory of Moral Sentiments_, pp. 10-13, especially p. 12.

[121] Espinas, _Des sociétiés animales_, p. 328.

[122] Brehm, _Thierleben_, i. pp. 204, 205, 208.

[123] Van Ende, _Hist. nat. de la croyance_, I. L’animal, p. 218; Brehm, _l.c._ p. 87.

[124] Wallaschek, _Primitive Music_, pp. 230, 231; Grosse, _Die Anfänge der Kunst_, p. 219. Cf. also Schlegel, A. W., _Sämmtl. Werke_, vii. pp. 149, 150 (_Briefe über Poesie, Silbenmasz und Sprache_), where a similar theory is advanced.

[125] Bücher, _Arbeit und Rhythmus_, passim.

[126] Bücher, _l.c. passim_. Compare, however, p. 306 as to the difference between labour in the modern sense and the working activity of primitive man.

[127] Cf. Souriau, _L’esthétique du mouvement_, p. 70.

[128] Bourgoing, _Modern State of Spain_, ii. pp. 299, 300.

[129] Vernon Lee and Anstrather Thompson, “Beauty and Ugliness,” in the _Contemporary Review_, vol. lxxii. 1897, p. 559: “To this quality of mere complexity of surface, pattern adds by its regularity the power of compelling the eye and breath to move at an even and unbroken pace. Even the simplest, therefore, of the patterns ever used have a power akin to that of march music, for they compel our organism to a regular rhythmical mode of being.”

[130] The expression “gymnastic,” as distinguished from pantomimic dance, is borrowed from Grosse, _Die Anfänge der Kunst_.

[131] That the dances of salutation and homage in most cases really are to be derived from the expression of joy has been shown by Spencer, _Principles of Sociology_, iii. p. 201, and might be corroborated by instances referring to all the details of complimentary ceremonialism.

[132] Carver, _Travels_, pp. 180-182 (Lake Pepin); Martin, _Molukken_, p. 57 (Lectimor); Polack, _The New Zealanders_, i. p. 88 (Maoris). Cf. also Rienzi, _Océanie_, iii. p. 170, on the frequent quarrels between Europeans and Maoris that have arisen from a misunderstanding of these kinds of salutation. Johnstone, _Maoria_, p. 49: “The war dance was practised both as a martial exercise and as an amusement, and was considered equally adapted to give honourable reception to friendly visitors or to intimidate an enemy on the field of battle.”

[133] Cf. the instances collected by Féré, _Pathology of Emotions_, pp. 360-390; and Godfernaux, _Le sentiment et la pensée_, pp. 65 _sq._ A powerful description of the mythogenic justifications by which anxiety creates to itself a reason is given in Maupassant’s poem “Terreur” in _Des Vers_, pp. 19, 20.

[134] Cf. on the infectious influence of dramatic performances, Cahusac, _La danse_, i. pp. 166, 167; ii. pp. 61, 62; Jacobowski, _Anfänge der Poesie_, pp. 127-129; Tarde, “Foules et sectes,” in _Revue des deux Mondes_, vol. cxx. (1893), especially p. 368. It is scarcely necessary to point out to how great an extent the emotional conveyance by means of dramatic action must have been strengthened by the chorus, which, by its laughter or wailing, affords a kind of model expression to the spectator. Possibly, indeed, the Greek chorus developed from a ceremonial in which chorus and audience were not distinct but identical—a ritual of wailings or rejoicings provoked by the recital of a traditional story. This view, curiously in advance of his times, is suggested by Brown, an eighteenth century philosopher (_History of the Rise of Poetry_, pp. 126-128): “How came it to pass that in the more barbarous periods the number [of the chorus] should be so much greater? Manifestly because that rude age bordered on the savage times, when the _whole audience_ had _sympathised_ with the _narrative actor_, and became as one general choir.”

[135] Engel, _Ideen zu einer Mimic_, i. pp. 86-88; cf. also Seckendorff, _Vorlesungen über Declamation und Mimik_, ii. p. 5; Sully-Prudhomme, _L’expression dans les-beaux arts_, pp. 96, 97.

[136] Lichtenberg, _Briefe aus England, Vermischte Schriften_, iii. p. 262.

[137] Lange, _Nydelsernes fysiologi_, pp. 168, 169. As to the importance of imitative reaction for our enjoyment of sculpture, cf. Vernon Lee and Anstruther Thompson, _The Contemporary Review_, vol. lxxii., pp. 677-679.

[138] Sully-Prudhomme, _L’expression dans les beaux-arts_, pp. 4, 5.

[139] Nietzsche, _Die Geburt der Tragödie_, p. 8.

[140] Goethe, _Dichtung und Wahrheit_, iii. p. 132. This instance has been adduced by Professor Julius Lange in support of his emotionalistic art-theory; _Om Kunstvœrdi_, pp. 72-84.

[141] Wallaschek, _Mind_, N.S. iv. p. 34, “On the Difference of Time and Rhythm in Music;” Bücher, _Arbeit und Rhythmus_, p. 306.

[142] Cf. Emmanuel, _La danse grecque antique_, p. 127.

[143] Cf. Creuzer, _Symbolik und Mythologie_, iii. p. 155; Ruskin avails himself of the same allegory in _The Queen of the Air_, pp. 66-70.

[144] _Revue Critique_, 1896, ii. pp. 386, 387; cf. also Groos, _Die Spiele der Menschen_, pp. 110, 476.

[145] Spencer, _Essays_, ii. 460.

[146] Cf. Charcot and Richer, _Les démoniaques dans l’art_, p. 37; Emmanuel, _La danse grecque antique_, pp. 102, 196-198, 302, 303.

[147] Michelet, _La Sorcière_, p. 80.

[148] Cf. for example, Dyer, _Gods in Greece_, pp. 114-117.

[149] Cf. Brown, _The Fine Arts_, pp. 22-35, 41-70; and Hill in _Pop. Sc. Monthly_, vol. xlii. pp. 734-749.

[150] Rapp, _Rheinisches Museum_, xxvii. p. 2 (“Die Mänade im griechischen Cultus”).

[151] Rohde, _Psyche_, pp. 331, 343.

[152] Nietzsche, _Die Geburt der Tragödie_, pp. 6, 7.

[153] A detailed treatment of gracefulness in art and life has been given by the author in _Förstudier till en konstfilosofi_, pp. 132-147.

[154] Cf. Holz, _Die Kunst_, p. 117. It is only fair to add that in their own novels the authors of this school have involuntarily failed to support their theoretical principles.

[155] Cf. chap. i.

[156] Cf. Taine, _Philosophie de l’art_, pp. 72, 73.

[157] _Ibid._ pp. 52, 53.

[158] Hemsterhuis, _Œuvres_, i. pp. 14-18, 24, 66 (Lettre sur la sculpture, Lettre sur les désirs). A similar thought was applied by Poe to the fundamental principles in poetic composition and has exercised a great influence on recent literary movements. Cf. Poe, _Works_, vi. pp. 3-6 (The poetic principle). For a further elaboration of this notion cf. Bourget, _Études et portraits_, i. pp. 225, 226; Hansson, _Kåserier i mystik_, pp. 140, 141; Symons, _The Symbolist Movement_, p. 137 (Stéphane Mallarmé).

[159] Carlyle, _Sartor Resartus_, p. 180.

[160] Wagner, _Ges. Schriften_, iv. p. 39 (Oper und Drama).

[161] Cf. chap. ii. in the preceding.

[162] Cf. the quotations adduced by Harnack, _Die klassische Ästhetik_, pp. 124, 143, 161, 164, 165. Cf. also von Stein, _Goethe und Schiller, Ästhetik der deutschen Klassiker_, pp. 25, 27.

[163] Taine, _De l’idéal dans l’art_, pp. 19, 50, 130, 175.

[164] For an interesting comparison between French and English ideals of art, compare the aphorisms of Mr. Quilter in _Sententiæ Artis_, pp. 7, 121, with the views of Taine, as expressed, for example, in _L’idéal dans l’art_, p. 148.

[165] Cf. Ruskin, _Modern Painters_, 1, i. ii. § 8; iii. iv. 3, §§ 21, 24, 28.

[166] Tolstoy, _What is Art?_ Julius Lange, _Om Kunstværdi_. Cf. also the remarks in Carpenter, _Angels’ Wings_, the poetic theory of Holmes, as set forth in _What is Poetry?_ and the definition of March, “Evolution and Psychology in Art,” _Mind_, N.S. v. p. 442.

[167] Taine, _Philosophie de l’art_, p. 50. For a just appreciation of the part of feeling in art see also _De l’idéal dans l’art_, p. 152; Ruskin, _The Laws of Fésole_, chap. i. pp. 1-7; _Modern Painters_, iii. iv. i. §§ 13, 14; _Lectures on Art_, pp. 80, 81.

[168] Hirth, _Aufgaben der Kunstphysiologie_, pp. 14-16.

[169] Cf. von Stein, _Goethe und Schiller, Ästhetik der deutschen Klassiker_, p. 32.

[170] Cf. the quotations from Schiller’s letters to Goethe, adduced by Harnack in _Die klassische Ästhetik der Deutschen_, pp. 89-92.

[171] Leconte de Lisle, _Poèmes barbares_, p. 221.

[172] Van Dyke, _Principles of Art_, p. 281.

[173] Groos, _The Play of Animals_, pp. 327, 328.