[49] Streifzüge eines Unzeilgemässen, vol. viii, p. 122.
[50] P. Souriau, La Suggestion dans l’art, Paris, 1893. Of course this means only a more or less remote approach to narcosis on the one hand, and hypnosis on the other. Perhaps the idea of ecstasy meets our case even better, as Mantegazza has figured it:
[51] Karl Büchner’s pregnant hypothesis is that acquaintance with rhythm is chiefly derived from physical labour (Arbeit und Rhythmus, Leipsic, 1896).
[52] See B. O. Stoll, Suggestion und Hypnose in der Völkerpsychologie, and J. Lippert, Kulturgeschichte der Menschheit, vol. i, p. 632, where this idea is set forth with great clearness.
[53] Schopenhauer says, Rhythm (and rhyme) is “partly a means of keeping our attention—since we gladly follow it—and partly the occasion of a blind unreasoning submission in us to leadership, which by this means attains a certain authoritative and apparently unaccountable power over us.”
[54] Op. cit., p. 67.
[55] According to R. Wallaschek, it is the demand for distinct rhythm which first elevates the state of transport to the appreciation of melody, and leads to the proper valuation of the interval (Primitive Music, London, 1893, p. 232).
[56] E. Hanslick, Vom Musikalisch-Schönen, Leipsic, 1896, p. 153.
[57] Op. cit., pp. 168, 171.