felt himself involved by the theory of Subjective Idealism. Philosophy, he says, is a search for the Thing-in-itself, but he tells Kant that from the idea nothing but the idea follows, and that the path of Reflexion or Knowledge is closed as the path of philosophy. Had Schopenhauer kept more true to his ruling that knowledge is originally and in itself perception, he would not have maintained that the world is my idea. The Thing-in-itself is the shadow cast by the Reflective or Abstracting Understanding. With both Kant and Schopenhauer it is primarily invented to get rid of the difficulty bred of a belief in an abstraction or unreality, and as it is a pure mental fiction, we may safely deny that there is any such thing in reality. Mr. Wallaschek finds the origin of music in a rhythmical impulse in man. The sense of rhythm arises from the general appetite for exercise, which recurs in rhythmical form owing to sociological as well as psychological conditions. On the one hand, there is the social character of primitive music, compelling a number of performers to act in concert. On the other hand, our perception of time-relations involves a process of intellection, by means of which the mind is able to comprehend them as a whole. Since music is produced not merely as an auditory impression and expression, but also in order to evoke reflexion, it must contain the qualities of time-order and rhythm. Mr. Herbert Spencer’s theory of the origin of the general appetite for exercise is said to afford the most valid explanation. It is the surplus vigor in more highly evolved organisms, exceeding what is required for immediate needs, in which play of all kinds takes its rise. We owe our musical faculty to the time-sense rather than to our sense of hearing. The perception of particular tones and tunes plays a very low part, if any, in primitive music. In almost all the examples furnished by ethnology, we see that music is the expression of emotion, which is also one of the sources of human language. Mr. Spencer is said to be wrong, however, in thinking that musical modulation originates in the modulations of speech Music and speech have a reciprocal influence, and primitive human utterance, using sound-metaphors and onomatopœia, may resemble primitive musical tones. Nevertheless, an early separation of distinct tones and indistinct sounds seems to have taken place, not as a transition from the one as prior to the other as succeeding, but as a divergence from a primitive state which is, strictly speaking, neither of the two.