Play is then very largely either a mutual shamming of expression, or a stimulating real expression in one by pretended expression in the other. The pleasure in deceiving others by simulating expression points to ancestral experience, for deceit has been one of the greatest factors in life evolution. That an individual seems to be an entirely different being from what he really is, has often been most advantageous in the struggle for existence, and hence a large variety of simulated expression has been employed. Children then, as repeating in play form the race history, take great delight in masquerading and so deceiving their acquaintances as to their identity, making false pleas for charity, etc. The drama has its roots in this form of play. To make others take us for quite different than we are gives us a high pleasure of power, and early man was often moved, in the breathing spells of the struggle for existence, to play at false personalities simply for the pleasure in itself of being a successful actor. There is also the counter pleasure of the spectators in piercing the simulated expression. It is only in latest phases of dramatic art that simulation comes to be appreciated for its own sake, that there is on both sides full and complete feeling of the illusory nature of the whole transaction, and an enjoyment of the art _per se_. Simulating expression is the actor’s art; but when the simulation is forgotten by either actor or audience, nature appears and art disappears.