mutual stimulation as to the desire to compete for the favour of the hen.[121] The howling choirs of the macaws[122] and the drum concerts of the chimpanzees[123] are still better and unmistakable instances of collective emotional expression. In man we find the results of the same craving for social expression in the gatherings for rejoicing or mourning which are to be met with in all tribes, of all degrees of development. And as a still higher development of the same fundamental impulse, there appears in man the artistic activity. The more conscious our craving for retroaction from sympathisers, the more there must also be developed in us a conscious endeavour to cause the feeling to be appropriated by as many as possible and as completely as possible. The expressional impulse is not satisfied by the resonance which an occasional public, however sympathetic, is able to afford. Its natural aim is to bring more and more sentient beings under the influence of the same emotional state. It seeks to vanquish the refractory and arouse the indifferent. An echo, a true and powerful echo—that is what it desires with all the energy of an unsatisfied longing. As a result of this craving the expressional activities lead to artistic production. The work of art presents itself as the most effective means by which the individual is enabled to convey to wider and wider circles of sympathisers an emotional state similar to that by which he is himself dominated. We propose in the next chapter to indicate the way in which art in its various forms has served the expressional craving. CHAPTER VII DEDUCTION OF ART-FORMS