These inward or memory libraries may be distinguished into two chief kinds. As a matter of fact there are almost as many different kinds of inward books as there are outward books, but as the two chief ways of expression are voice and gesture, so the records of oral speech and gesture language, received by eye, ear, or touch, and inwardly recorded, are the chief kinds of memory books. These are quite distinct as to their processes of reception and record, and very possibly occupy different areas of the brain. These differences may in part be realized from common observation, but one must take pains to guard against the assumption that the inward record is a photograph. It is entirely possible that the brain record of the sound “man” differs as much from a picture of a man as the thread of a phonographic record does. The same is true as to the inward record of a picture word or alphabetical handwritten word. The inward record may no more be a microscopic picture than the stenographic sign is. Nevertheless it is not hard to realize that there is somehow within a series of recorded impressions which may be called images, some of which recall sounds and others objects or gestures. The inward language may or may not have to do with sounds. Modern pantomime and the sign language of deaf-mutes and Indians are languages, and it is entirely possible to store in one’s mind an exact series of signs telling a story in gesture language, just as it is possible to store the symbols for sounds or oral speech. One of the most interesting chapters in the antiquities of ancient nations and of modern savage tribes is the story of liturgical rites, sacred dances, symbolic processions, and the like. Savage dances e.g. sometimes rehearse events of the hunt or war or domestic scenes. In many of these cases what may be called historic events are represented and the whole ceremony is a rehearsal of these events, although wholly in gesture expression, with gesture or object symbols and without speech. It is the recital of visually memorized records in visual symbols, but the records are just as truly definite accounts of events, or records, or books if you like, as if they were oral words remembered and expressed by voice or in writing. In religious dances and dramatic religious ceremonies, the traditional representations were of ideas rather than events—the nature of the world and man, the future world and the means of attaining this,—and these formed groups and sequences of transmitted ideas quite as definite to the initiated as if expressed orally or in writing.