We have seen that the development of music is analogous to the development of language. That this must be so is obvious when we understand that both music and language are mental structures contemporary with the human mind, reflecting its development and having their origin in the senses of sight and hearing. No arts have been founded on the sense of touch in its forms of taste and smell. The reason for this gives us a clue to the character of progress in general. The senses of smell and taste are too intimate, too physically diffused, too direct or primitive in effect to be controlled by the mind. We may say that the body now short-circuits in these sensations and that the mind is cut out. But when, in the past, the sense of touch developed into the more complicated organs of the eye and the ear[1] which made touch _at a distance_ possible, then what the mind sensed was more highly organized and less direct and amorphous. Smells and tastes may be compared with noises before the mind has organized them into musical sounds, or with sensations which have not yet passed through the imagination and become organized into emotions and ideas. It would seem that the history of man is the history of this process of organization and that the organizations differ more from one another than do the senses from which they grew. A Chinaman, for instance, is much more like an Englishman in his body than in his language; he can have a child by an Englishwoman with whom he is unable to speak.[2]