thus contrasts the rich and varied entertainments of the Polynesians, who without any exertion obtain their subsistence from their bountiful soil, with the amusements of the poor Narrinyeri, who even in their dances and pantomimes have always practised “those arts which were necessary to get a living.”[391] But it is significant that even the inhabitants of these “happy islands” in their dramatic performances introduce imitations of rowing, fighting, and other kinds of common work. And at still higher degrees of development, where the division of labour has given rise to special trades, all these various crafts will often, as was the case in Dahomey, in ancient Peru, and in mediæval Europe, be a favourite subject for pantomimic representation.[392] If such representations have been of no especial value as exercise, they may nevertheless, by bringing about an association between work and pleasure, have made toil and labour less repugnant. The exertions called forth by the struggle for existence have thus at all stages of culture, except that of modern industrialism, been to some extent facilitated by art. Perhaps even more important in their influences than the imitation of work in play or drama are the artistic activities which accompany the actual performance of work. As these kinds of dance and song have been somewhat overlooked by Professor Groos, there is reason to make them the subject of a closer investigation. When explaining the manifestations of art which can thus, in the literal meaning of the word, be called songs and dances of action, we have to divide our attention between two different points of view. First, the need of stimulation and regulation of the work of the individual, and, second, the need of co-operation in the work of different individuals. In both these respects art has had an importance among primitive tribes which can scarcely be overrated.