[113] Cf. Baldwin, _Mental Development_, p. 403. [114] Preyer, _Die Seele des Kindes_, p. 228; cf. Harless, _Lehrb. d. plast. Anatomie_, p. 125, and Dugald Stewart, _Philosophy of the Human Mind_, iii. pp. 6, 7, 193, 194. [115] _Goncourt, Journal des_, i. p. 281:—Hier j’étais à un bout de la grande table du château. Edmond à l’autre bout causait avec Thérèse. Je n’entendais rien, mais quand il souriait, je souriais involontairement et dans la même pose de tête.... Jamais âme pareille n’a été mise en deux corps. [116] Cf. especially Binet, _Le fétichisme dans l’amour_, p. 248. [117] For a treatment of the interindividual transmission of feeling, in which the chief points of modern theories on mob-mind are anticipated, see Dugald Stewart, _Philosophy of the Human Mind_, iii. pp. 208-211. [118] Féré, _The Pathology of Emotions_, p. 212. [119] _Lancet_, 1886, i. pp. 312, 313, quoted in Aubry, _La contagion du meurtre_, pp. 220-223; Le Bon, _Psychologie des foules_, p. 46. [120] We need scarcely remark, in this connection, that every unhappy experience awakens the craving for assistance and consolation, and therefore indirectly gives rise to an effort to create sympathy. This point must, however, be passed over when treating of impulsive, purely emotional manifestations. As to the pleasures and consolations of mutual sympathy, compare, moreover, Smith, _Theory of Moral Sentiments_, pp. 10-13, especially p. 12. [121] Espinas, _Des sociétiés animales_, p. 328. [122] Brehm, _Thierleben_, i. pp. 204, 205, 208. [123] Van Ende, _Hist. nat. de la croyance_, I. L’animal, p. 218; Brehm, _l.c._ p. 87. [124] Wallaschek, _Primitive Music_, pp. 230, 231; Grosse, _Die Anfänge der Kunst_, p. 219. Cf. also Schlegel, A. W., _Sämmtl. Werke_, vii. pp. 149, 150 (_Briefe über Poesie, Silbenmasz und Sprache_), where a similar theory is advanced. [125] Bücher, _Arbeit und Rhythmus_, passim. [126] Bücher, _l.c. passim_. Compare, however, p. 306 as to the difference between labour in the modern sense and the working activity of primitive man. [127] Cf. Souriau, _L’esthétique du mouvement_, p. 70. [128] Bourgoing, _Modern State of Spain_, ii. pp. 299, 300. [129] Vernon Lee and Anstrather Thompson, “Beauty and Ugliness,” in the _Contemporary Review_, vol. lxxii. 1897, p. 559: “To this quality of mere complexity of surface, pattern adds by its regularity the power of compelling the eye and breath to move at an even and unbroken pace. Even the simplest, therefore, of the patterns ever used have a power akin to that of march music, for they compel our organism to a regular rhythmical mode of being.” [130] The expression “gymnastic,” as distinguished from pantomimic dance, is borrowed from Grosse, _Die Anfänge der Kunst_.