“Wenn ich weggeh’,:,: Hab ich Kisten und Kasten voll; Wenn ich wiederkomm’,:,: Hab ich kein Fädchen Zwir-r-n.”[562] “When I go away I have trunks and boxes full; When I come back again I haven’t a rag to my name.” This interpretative imitation which lends to unintelligible sounds a special meaning is applied to other things than animal cries, such as the clatter of arms, the ringing of bells, the splashing of water, the roaring of wind, etc. For adults it is expressed in the refrain, which, however, does not as a rule convey any special meaning. A rather crude form of it is found in Bürger’s Leonore. A more subtile use of it is illustrated in efforts to make the sound of the words convey a faint resemblance to the acoustic effect which is being described. A familiar and celebrated instance of this is found in this passage from Faust: “Und wenn der Sturm im Walde braust und knarrt, Die Riesenfichte stürzend Nachbaräste Und Nachbarstämme quetschend niederstreift, Und ihrem Fall dumpf hohl der Hügel donnert....”[563] Music, too, is notably richer in imitation of the latter sort than in the much less valuable tone-painting. As we have, however, touched on its analogy with and relation to speech movements, which is its most important feature, the subject will not be opened further here. 2. _Dramatic Imitation in Play_ In the playful imitation which we have considered up to this point, illusion was as a rule not involved, of the kind which seems to convert the copy into the original. In dramatic or imitative play involving the reproduction of actions it is almost invariably present, and essentially differentiates such play. Imitation is still the foundation and also the source of pleasure not only in the feeling of emulation, but in putting one’s self in the place of another, in the play of imagination and in the enjoyment of æsthetic effect. There can be no doubt that this refinement of the process by which the external act of imitation becomes at the same time inward sympathy is of great importance to human progress. Konrad Lange has shown in his stimulating article[564] that with the higher animals at least, play without the contributory zest of illusion or conscious self-deception would probably be much less attractive and consequently fail of its biological purpose, since this feature of it contributes essentially to the advance of intelligence. Even when the child merely copies for the sake of copying he learns an astonishing amount, and acquires a host of psychic adaptations. But mental elasticity, adaptability, and mobility are first acquired when the migratory instincts of the soul, so to speak, are awakened, and the child enters into the life of his model. Veritable participation in the mental states of another individual, objective appraisal of what he feels and strives for, would scarcely be possible without such practice.