We have then the following considerations: firstly, there is the widespread and remarkable phenomenon of imitation, from which we can infer that the diversity of song is not due to structural differences but must be sought in some innate capacity to play one tune in preference to another; secondly, not all the individuals of the same species play a similar tune--we find that there is in certain directions a noticeable variation which nevertheless does not seem to affect the question of success or failure in the attainment of reproduction; in the third place, in contrast with this variation, we can observe a striking uniformity in two important particulars, namely in the specific character and penetrative power of the song--qualities which we know are essential for the purposes of "recognition" and "warning"; and finally, from the general course of our investigation, we can infer that if a male had no certain means of advertising its position, the territory would not be brought into useful relation in its life. Have we here sufficient ground on which to construct a theory of origin; in other words, has the evolution of song been incidental to, and contributory to, the evolution of the territory? We have all along spoken of the song and of the call-notes as if they were manifestations of separate emotional states having their respective and well-defined spheres of usefulness; and while, speaking generally, this is a true statement of the case, there is much evidence to show that the relationship between them is nevertheless very close. There are, for example, quite a number of cases in which a particular call-note is uttered with unusual energy during sexual emotion, and is attached to the song, of which it may be said to form a part; but a still closer connection can be traced in many simple melodies which are merely compositions of social and family calls repeated many times in succession, and even in some of the more complex productions there will be found indications of a similar construction. And since this is so, since moreover, in the seasonal vocal development of such a bird as the Yellow Bunting, we can observe the gradual elaboration from simple to complex--from the repetition of single notes to phrases and from phrases to the complete melody--we have every reason to suppose that it is along these lines that the evolution of the voice has proceeded.