The next step in this survey of the psychological history of the dramatic art whereby we are essaying to unfold its purport and its final definition, leads us from barbaric life to the private homes of the most cultivated classes of civilized society. The higher we go in the scale of social wealth and rank, the larger provisions we shall find made for gratifying the dramatic instincts of children, till we come to the nursery of the baby prince, who has his miniature parks of cannon and whole regiments of lead soldiers, and the baby princess, who has a constant succession of dolls of all grades, costumes, and ages. The little warrior animates his soldiers and their officers with such ideas and passions as he has in himself or as he can get glimpses of from his elders or from books, creates rôles for them, and puts them through their paces and fortunes with such variety and succession as he can contrive. And so his nursery is a theatre, and he is at once author, manager, actors, supernumeraries, spectators, and all. Likewise the young girl dresses up her dolls, takes them to church, to balls, undresses them, puts them to sleep, weds them, celebrates their funeral, in a word, transfuses all her own life, real and imaginative, into them, and so reactingly multiplies herself and her experience, and peoples the otherwise tedious vacancy of childhood with vital and passionate processions, pathetically prefiguring all the tragedy and comedy that are actually to follow. A Bengal newspaper, giving an account of a curious marriage-procession through the streets of Dacca, says, "In Indian households dolls play a far more important part than they do in England, for all the perfection to which we have attained in the art of making, clothing, and lodging them. Indian dolls are not remarkable for beauty or close resemblance to human models; but in bedecking them no expense is spared. They have a room to themselves, and seem to enjoy as much attention as live children do elsewhere. Feasts and garden-parties are given in their honor. The death of a doll involves a great show of mourning, and the marriage of one is a public event. In the present instance two dolls belonging to the daughters of the wealthiest Hindus in Dacca were led out at the head of a solemn procession, to the delight of the bystanders. After the wedding ceremony the parents of the girls who had thus disposed of their puppets laid out a few thousand rupees in feasting their friends and caste-folk, as well as the neighboring poor." As children grow older and become school-boys and school-girls, this faculty and impulse do not cease to act, but, developed still further, instead of imparting fancied life and action to inanimate toys, lead them to imitative performances of their own, causing them to group themselves together for the representation of games, and of the historic scenes, social events, or fictitious stories which have most impressed and pleased their imaginations.