The point of interest demanding attention at this stage of our inquiry is how to discriminate clearly between the drama of the savage and the drama of the child. The dramatization of the savage is mimetic, a putting on from without of the disguise, the postures, sounds, motions, of the animal he impersonates. He imitates the outer signs of the animal; and these often in return produce in him the corresponding states of consciousness. But the dramatization of the child is creative, a projection from within of his own thoughts and emotions into the counterfeit toys he personifies, and a consequent heightening of his own sense of life by an imagination of its being imparted and sympathetically taken up and shared. With the barbarian the primary movement of action is from without inward; with the child it is from within outward. There it is the interpretative assumption by the actor of the signs of states in another; here it is the direct transference by sympathetic imagination of the states of the actor to another. That is the raw drama of the senses, this the initial drama of the soul. We must pause here, before passing to the next head, to make a brief exposition of another department and application of the dramatic power of man, a department intermediate between the examples already given and those which are to come. Its peculiarity is that it combines in one, with certain original features of its own, the barbaric and the childish drama. The creation of Fables is the strongest delight of the dramatizing literary faculty in its first movements. Its workings are to be traced in the ingenuous oral treasures preserved among tribes who have no written language, as well as in the most beloved vernacular writings current among the populace in civilized countries. Fables are short compositions designed to teach moral truths, or to impress moral truisms, by representing beasts, birds, reptiles, insects, trees, flowers, or other objects, as endowed with the faculties of men, retaining their own forms but acting and talking as men, exemplifying the virtues and vices of men in characteristic deeds, followed by their proper consequences. In the degrading barbarian drama the actors admit into themselves the lower creatures whom they represent, putting on the skins, movements, cries, of the crocodiles, hyenas, or boa-constrictors the ideas of whom they take into their brains. In the naïve child drama the little performers project the ideas of themselves into the dolls and toys they personify and move. But in the fable drama these two processes are joined, with a mere inversion of the subjects of the first; for in fables the actors, in place of being, as in the plays of savages, the assumed souls of animals and the disguised bodies of men, are the disguised souls of men in the assumed forms and costumes of animals. The one is an actual representation of animals by men for free sport; the other is an imaginary representation of men by animals for