Dances, choral, 262; common to both sexes or separate, 230, 231; connected with sexual selection, 233-235; with war, 266, 267; with work, 251, 253, 254 Dance-pantomimes, obscene, 233, 245 Dancing girdles, 215 Deaf-mutes, their language, 151, 155 Death and resurrection represented in primitive drama, 182-184 Decoration, bodily, subserving a commemorative purpose, 223; used as a means of frightening, 272; as a means of individual and tribal identification, 225-227; as magical protection, 218, 224; denotes civic majority, 220; executed in order to protect the skin, 224; denoting rank or wealth, 222 Decorative art, the, of military tribes, 277 Demon-shields of the Dyaks, 272-274 Dignity, 116 Dionysiac state, the, 64, 65, 105, 109, 112, 113 Dionysos, god of art and music, 110 Disinterestedness, the, of artistic activity. _See_ Autotelic Character of Art Drama, the earliest of imitative arts, 149, 150 Dramatic element, the, of art, 95-98 “Einhaltsstreben,” 150 Emanations, magic theory of, 281, 293 Emotional element, the, in art, 137-139, 303 Emotions, the psychology of, 42-55; connection between emotions and movement-sensations, 44-47 Enjoyment of pain, 55, 56-71 Enlistment, dances of, 266 Ephemeral character of primitive art, 161 Epic element, the, in art, 98, 99 Epidemics, mental, 69, 81 Erotic art, 238-248; dearth of information on, 229, 244; spurious instances of, 245 gestures and pantomimes used as expressions of joy, 243, 244 pantomimes and dances performed with a moral intention, 247, 248 poems, 235, 236, 246 propitiation, 234-236 Etiological myths, 171, 172 Euhemerism, 168, 169 Europeans as subjects of primitive art, 160, 166, 167, 178 Experimentation, plays of, 145 Expression of feeling, 41, 42, 47-54; primary and secondary forms of expression, 42, 47, 52, 68, 69, 199; expression as a mythogenic factor, 93, 94 “Expressive qualities,” the, of nature, 98 Extempore design, 156, 161 “Faculté maîtresse,” 118-120, 126 Fandango, apologue concerning the, 89 Fascination, 103 Fear, 52, 54, 103 Feeling-tone of sensation, 30-42; experiments on sensation, feeling and movement, 31; dynamic conditions of feeling, 32-35; static conditions of feeling, 35; association between pleasure and movement, 33; pains of restriction, 38; pain as motor incitement, 40, 66, 253; relative character of pleasure and pain, 56, 57; acquired pleasure-gettings, 57; the philosophical importance of pain, 63, 64 Festal development of art, 111 “Foreign” purposes, the, in art, 10-12, 15-17, 127, 147, 148, 301, 304-306 Form and content, 139 French and English art, difference between, 131 Funeral ceremonies and art, 300 dances of obscene character, 217 Garrick, the contagious power of his acting, 96 Gesture-language, 151-154