Such are briefly the characteristics of the genesis of song and of music, the actual conditions which make them possible, and their effect on man and animals. We must now consider the subject from the mythical point of view, as we have done in the case of the other arts. We know that the image and emotions are mythically personified by us, and this fanciful reality is afterwards infused into the words used in its expression. It follows from this that speech is not only spontaneously and unconsciously personified as the material covering of the idea or emotion enclosed in it, but that the same thing occurs in language as a whole, at first vaguely, but afterwards in a definite and reflective manner, in consequence of intellectual development. Among all civilized peoples, whether extinct or still in existence, speech is not only personified in the complex idea or language, but it is deified. It is well known that this is the case in all phases of Eastern Christianity, and that the other Christian churches have since identified the Graeco-Eastern idea of the Logos with the Messianic ideas engrafted upon it. If among the prehistoric peoples which most resemble modern savages, speech was personified by the necessity of the perceptive faculty, a vague power was certainly ascribed to it, and even a simple murmur or whisper was supposed to have a direct and personal influence on things, men, and animals. Magic, which is the primitive expression of fetishtic power, embodied in a man, had its most efficacious form in the utterance of words, cries, whispers, or songs, referring to the malign or to the healing and beneficent arts, and it was employed to arouse or to calm storms, to destroy or improve the harvest, or for like purposes.