of emotional ideas, we have this rhythmical tendency developed. And when we bear in mind that dancing, poetry, and music are connate--are originally constituent parts of the same thing, it becomes clear that the measured movement common to them all implies a rhythmical action of the whole system, the vocal apparatus included; and that so the rhythm of music is a more subtle and complex result of this relation between mental and muscular excitement. But it is time to end this analysis, which, possibly we have already carried too far. It is not to be supposed that the more special peculiarities of musical expression are to be definitely explained. Though probably they may all in some way conform to the principle that has been worked out, it is obviously impracticable to trace that principle in its more ramified applications. Nor is it needful to our argument that it should be so traced. The foregoing facts sufficiently prove that what we regard as the distinctive traits of song, are simply the traits of emotional speech intensified and systematized. In respect of its general characteristics, we think it has been made clear that vocal music, and by consequence all music, is an idealization of the natural language of passion. * * * * * As far as it goes, the scanty evidence furnished by history confirms this conclusion. Note first the fact (not properly an historical one, but fitly grouped with such) that the dance-chants of savage tribes are very monotonous; and in virtue of their monotony are much more nearly allied to ordinary speech than are the songs of civilized races. Joining with this the fact that there are still extant among boatmen and others in the East, ancient chants of a like monotonous character, we may infer that vocal music originally diverged from emotional speech in a gradual, unobtrusive manner; and this is the inference to which our argument points. Further evidence to the same effect is supplied by Greek history. The early poems of the Greeks--which, be it remembered, were sacred legends embodied in that rhythmical, metaphorical language which strong feeling excites--were not recited, but chanted: the tones and the cadences were made musical by the same influences which made the speech poetical.