And in Scotch: “Le, la, let, My bonnie pet!” The snail, too, is addressed in a rhyme which favours the illusion that he will put out his horns to order: “Schneck’ im Haus, kreich heraus, Strecke deine vier Hörner heraus! Sonst werf ich dich in Graben, Fressen dich die Raben.” “Snail, snail, put out your horn, Or I’ll kill your father and mother the morn.”[147] As a final example, I will mention the gruesome custom which, according to Papasliotis, obtains in modern Greece, and especially in Crete, of attaching a small lighted taper to a beetle and releasing it amid the acclamations of excited children. A passage in Aristophanes gives the impression that the children of ancient Greece also indulged in this cruel sport.[148] The eye of the adult, too, delights in movement; absolute immobility is as disturbing as absolute stillness. Here, as elsewhere, in considering the playful indulgence of sensuous perceptions, we must distinguish between pleasure in movement as such and pleasure in sensuously agreeable movement. Even children seem to exhibit this difference. Some weeks after the experiments in form described above I drew irregular zigzags and some even, wavy lines in the air before Marie G——, then five years old, and asked which she liked better. She chose the latter, though the others were calculated to produce a much more exciting impression, giving as her reason that the wavy lines were “straighter”; evidently meaning, as in the case of the figures, that these were more regular. In adults susceptibility to sensuously agreeable movement is doubtless still stronger, yet with them, too, there is a wide margin of pleasure in movement as such. From the multiplicity of available examples of this I select first the observation of street scenes, which I have already noticed in the case of animals,[149] especially the dog. The pleasure which we find in gazing out of our own windows or from behind the plate glass of a _café_ at the bustle and swarm of a city’s traffic detaches itself from all intellectual or even imaginative associations, and is gradually merged into a dreamy consciousness of a sensation of movement, mingled with mild enjoyment of its contrast with our own repose. With similar sensations we observe the stir of an ant-hill, the swarming of gnats in the evening glow, the confusion of snowflakes, and the whirling of leaves in a wind. A special interest attaches to the witnessing of skilful acrobatics where the feeling of inner imitation is strongly excited, and well does the juggler know how to turn this interest to account. The dexterous leaps which Amaranthus records at the beginning of the eighteenth century furnishes us an historical example: “Many are the leaps by which the jugglers cause the money of the spectators to jump into their own purses, and they have names as strange as they are ridiculous. There is the monkey jump, which throws one backward,