whole company sit close together in a circle on the ground while a shoe belonging to one of them is slipped along and hidden beneath their legs, while one person tries to find it.”[491] Fleeing and hiding occur in all hunting plays, but are specially prominent in some forms—in games like “Going to Jerusalem,” for instance, where many attempt to make use of the same chair, “Stagecoach,” “Change Kitchen Furniture,” “Cats and Mice,” etc. In many the pursuers are restricted by certain conditions and prohibitions which are in favour of the fleeing ones, and furnish occasion for evasions and all sorts of byplay. For one thing the “catcher” may be hooded or blindfold. Bastian saw a game played in Siam in which the bandage over his eyes was so arranged that it hung down like an elephant’s trunk.[492] Another handicap is to require the pursuer to hop on one foot and hit those whom he overtakes with his knotted handkerchief. When in his excitement he changes to the other foot they all cry out and beat him with theirs. The Greek ἀσκωλιασμός was apparently much like this. 9. _Witnessing Fights and Fighting Plays. The Tragic_ Æsthetic observation belongs more properly to imitative play, but we have been compelled to notice it already in several connections and must not overlook its influence on fighting play. Thanks to inner imitation we can take part in fights without objective participation, and actually enjoy attacks and defence, strategy and risk, victory and defeat as if they were our veritable experience. As we found in games of rivalry, this internal sympathetic fighting has a great advantage over objective fighting in the more varied and lasting excitement which it effects (for example, the tension of expectation which in one’s own quarrels soon vanishes); yet, on the other hand, it lacks the element of pleasure peculiarly associated with one’s own achievements.