[18] For this characteristic term I am indebted to Professor J. M. Baldwin. [19] Cf. chap. ix. in the sequel. [20] Some brilliant and suggestive remarks on this point may be found in Guyau, _Les problèmes de l’esthétique contemporaine_, p. 12; and in Havelock Ellis, _The New Spirit_, pp. 234-236. [21] Groos, _Die Spiele der Menschen_, pp. 508, 509. [22] Spencer, _Principles of Sociology_, vol. iii. pp. 201-231. [23] This view, viz. that the æsthetic cravings are a “racial” possession of mankind, has been clearly and consistently maintained by Marshall, cf. _Æsthetic Principles_, p. 70; _Pain, Pleasure and Æsthetics_, pp. 100, 101. [24] Vischer, _Ästhetik_, vol. i. p. 53; vol. iii. pp. 3-10. [25] Taine, _Philosophie de l’art_, pp. 57-70. [26] Engel, _Ideen zu einer Mimik_, i. p. 97. [27] Cf. as to the significance of this process, and its connection with the imitative process, Baldwin, _Mental Development_, p. 264. [28] Marshall, _Æsthetic Principles_, p. 62; cf. _Pain, Pleasure, and Æsthetics_, p. 104. [29] Cf. chapters xiv.-xvi. in the sequel. [30] Cf. Marshall, _Pain, Pleasure, and Æsthetics_, p. 104. (“Nor can we with Kant and Schiller hold that the ‘art-impulse’ is especially connected with the ‘play-impulse’ through lack of end, if I am right that an end for art-work is discernible in _attraction through the pleasing of others_.”) [31] Baldwin, _Social and Ethical Interpretations_, p. 151; cf. pp. 150, 152. [32] Schiller, _Über die ästhetische Erziehung des Menschen_, esp. Brief 15. [33] _Ibid._ Brief 27, quoted in Groos, _The Play of Animals_, p. 2. [34] Spencer, _Principles of Psychology_, vol. ii. pp. 629, 630. [35] Spencer, “The Origin of Music,” in _Mind_, xv. 452, 453; reprinted in the last edition of _Essays_, ii. pp. 430, 431; Wallace, _Darwinism_, pp. 281, 284, 287, 292; Hudson, _The Naturalist in La Plata_, pp. 280-286. [36] Wallaschek, “Natural Selection and Music” in _International Congress of Experimental Psychology_, second session, 1892, p. 74; _Primitive Music_, pp. 271, 272. These utterances of Wallaschek ought to be quoted as expressing his views, and not the earlier passage in Mind, 1891, p. 376, from which Groos concludes that Wallaschek agrees with Spencer. Cf. Groos, _The Play of Animals_, p. 6. As early as 1891, Wallaschek pointed out the importance of music and dances as preparations and not only representations of the most important actions in life. Cf. _l.c._ p. 74. [37] Groos, _The Play of Animals_, pp. 18-24. [38] Groos, _l.c._ p. 21. [39] Groos, _Die Spiele der Menschen_, pp. 216-356.