So long as Art is confined to Imitation, no special language is required; imitation is itself the substitute for language. But as soon as the representation has become idealized by heightening some features and suppressing or altering others, it corresponds to something which exists only in the mind of the composer; and its communication to the world requires additional labour devoted exclusively to Expression. In this final process so necessary to the complete success of his work, the poet moulds his signs upon his inward type; just as he began at first by adapting them to external facts. So far there is some truth in Grétry’s principle that song is derived from speech by the intermediate stage of declamation. The same principle has been applied to all the special arts; it might also be applied to Poetry, oratory being the link between verse and prose. These views, however, are somewhat modified by the historical spirit of Positive Philosophy. We must invert Grétry’s relation of cause and effect; at least when we are considering those primitive times, when Art and Language first arose together. The origin of all our faculties of expression is invariably esthetic; for we do not express till after we have felt strongly. Feeling had, in primitive times at all events, far more to do with these faculties than Thought, being a far stronger stimulant to external demonstration. Even in the most highly wrought languages, where, in consequence of social requirements, reason has to a great extent encroached upon emotion, we see evidence of this truth. There is a musical element in the most ordinary conversation. Listening carefully to a lecture on the most abstruse mathematical problem, we shall hear intonations which proceed obviously from the heart rather than the head, and which are indications of character even in the most unimpassioned speaker. Biology at once explains this law, by teaching that the stimulus to the muscles used in expression, whether vocal or gesticulatory, comes principally from the affective region of the brain; the specu-region being too inert to produce muscular contraction for which there is no absolute necessity. Accordingly, Sociology regards every language as containing in its primitive elements all that is spontaneous and universal in the esthetic development of Humanity; enough, that is, to satisfy the general need of communicating emotion. In this common field the special arts commence, and they ultimately widen it. But the operation is the same in its nature, whether carried on by popular instinct or by individuals. The final result is always more dependent on feeling than on reason, even in times like these, when the intellect has risen in revolt against the heart. Song, therefore, comes before Speech; Painting before Writing; because the first things we express are those which move our feelings most. Subsequently the necessities of social life oblige us to employ more frequently, and ultimately