The special ends accomplished by play are control of the body, command of the means of locomotion, agility in pursuit of prey and in escaping danger, and prowess in fighting. The games pursued in attaining these ends are classified in nine groups, beginning with those of experimentation and ending with those referred to curiosity. They include plays of movement, hunting, fighting, love, construction, nursing, and imitation. For all of these Professor Groos finds but one instinct of play responsible, supplemented by the instinct of imitation. He enters into an elaborate discussion of instinct, giving an outline of Weismann's theory of heredity and the views of various writers. He adopts Herbert Spencer's definition of instinct as a complex reflex act, referring its origin to the operation of natural selection, acknowledging the process to be beyond our grasp. In seeking to explain bird song and the love play of animals, the theory of sexual selection is not accepted by him without qualification; a modification of the Darwinian principle is suggested in which the female exerts an unconscious choice. The psychic characteristics of play are the pleasure following satisfaction of instinct, energetic action and joy in the acquirement of power. The animal at first masters its own bodily movements, then seeks the conquest of other animals and inanimate objects. When a certain facility in play has been gained a higher intellectual stage is entered upon, that of make-believe, or playing a part. This state of conscious self-illusion is reached by many of the higher animals. Psychically, it indicates a divided consciousness, and occupies a place between the ordinary state and the abnormal ones of hypnosis and hysteria. To this condition Professor Groos ascribes the genesis of artistic production, an hypothesis that he has elaborated more fully in Einleitung in die Aesthetik.
The experimental plays of animals, divided into those of courtship, imitation, and construction, correspond to the principles of self exhibition, imitation, and decoration, which are claimed to be the motives of human art. The acquirement of power through play develops a feeling of freedom, and this the artist likewise seeks to realize in the world of ideals.
Artists will not probably acknowledge that "life is earnest, art is playful," nor moralists agree that "man is only human when he plays, for there is no real freedom in the sphere of experience," yet both may find food for thought in Professor Groos's analysis of play.
In the spasm of unreasoning hostility to Spain which has come over the people of the United States, succeeding a period of effusive admiration, the public are apt to forget that that nation has done anything creditable for the promotion of civilization. Yet, leaving out other fields of culture for the present, it has produced two painters who rank among the great masters, besides numerous secondary artists, rivals of any of that grade in the world, and a voluminous literature which George Ticknor thought it worth while to make the study of his life, and which inspired the pens of Irving, Longfellow and Lockhart. One of the works of this literature ranks among the world's greatest classics, and has been, perhaps, after the Bible and Shakespeare more universally read than any other book; and numerous other works—chiefly romances—have furnished patterns or themes for the poets, novelists, and dramatists of other nations. Mr. Fitz Maurice Kelly's excellent and convenient History of Spanish Literature[60] therefore comes in good time to refresh our memories concerning these facts. One does not have to go very far in the history to find that of the great Latin writers of the age of the Cæsars, the two Senecas, Lucan the poet of Pharsalia, Martial the epigrammatist, and Quintilian the rhetorician—still an authority—and many minor writers, "were Spaniards as well as Romans." It also appears that of what Gibbon declared to have been the happiest epoch of man's history—from the death of Domitian to the accession of Commodus, seventy of the eighty years, if we take the liberty, as Mr. Kelly does, of counting Marcus Aurelius as a Cordovan, were passed beneath the scepter of the Spanish Cæsars. Prudentius, a distinguished Latin Christian writer of a succeeding age, was also a Spaniard. Although there were "archaic" works of trovadors before that time, traditionally preserved by juglars, Spanish literature proper began in the twelfth century. It owed much to French and Italian, and in course of time gave much back to them. Among its earliest signs was the development of the romance (ballad), while Arab writers (whose work Mr. Kelly considers of doubtful value) and Jews, who are better spoken of, were early contributors to it. The earliest works of importance were the Mystery of the Magian Kings, one of the first plays in any modern language, and the great heroic poem of the Cid, both anonymous. The first Castilian poet whose name has reached us was Gonzalo de Berceo, 1198 to 1264, who wrote much, and was, "if not an inventor, the chief of a school." Permanent form was given to Spanish prose by King Alfonso the Learned, 1226 to 1284, who, "like Bacon, took all knowledge for his province, and in every department shone pre-eminent." He had numerous collaborators, and "his example in so many fields was followed"—among others (in some of them) by his son and successor, Sancho IV. The Infanta, Juan Manuel, nephew of Alfonso, in one of the stories of his Conde Lucanor—"one of the books of the world"—created the germ of the Taming of the Shrew. Passing a numerous list of writers of respectable merit, for whose names even we have not room, we come to the age of the Catholic kings and Charles V, when for a hundred and fifty years literature most flourished in Spain. Among the features of this period are the Amadis de Gaul—"the best in that kind"—which inspired Cervantes; Columbus, who, though of Italian birth, "was probably the truest Spaniard in all the Spains," the poet Garcilaso de la Vega, and Bernal Diaz and other historians whose names dot Prescott's books. Passing a large number of writers of mark whose works appeared in this age, and stopping only to mention Alonzo de Ercilla y Zuñiga's Araucana as the first literary work of real merit composed in either American continent, we come to the age of Cervantes, whose story of Don Quixote—"the friendless people's friend," as Browning styles him—is not more distinguished for its satirical wit and humor than for its kindly humanity; and Lope de Vega, that most prolific of all dramatic authors, who "left no achievement unattempted," and died lamented by a hundred and fifty-three Spanish and fifty Italian authors, who sang his praises. Among other of the most distinguished writers of this and succeeding periods are Mariana, "the greatest of all Spanish historians"; Góngora, a famous poet in his day; Quevedo; Tirse de Molina, the creator of Don Juan; Calderon, second as a dramatist among Spaniards, if second, only to Lope de Vega, and Alarcón his compeer; and Velasquez, great in art and not small in letters. An interregnum came in during the reign of Carlos II, and French influence made itself felt. The age of the Bourbons produced among others the Benedictine Sarmiento, who as a botanist "won the admiration and friendship of Linné." The present century has been marked by the names of many authors of merit, novelists known to us in translations, by an active movement of historical composition developing brilliant monographs, and by a marked advance of scholarship and tolerance, led by Marcelino Menéndez y Pelayo; with a tendency to produce "a breed of writers of the German type."
GENERAL NOTICES.
The great importance of the problems of forestry and all that pertains to them can not fail to be appreciated by any one who has seen the devastation wrought in many sections of this country by the "wood chopper." Forestry is one of the subjects where natural science can step in and guide the way to economic success, and where, in default of scientific methods, economically fatal results inevitably ensue. The preservation of forests has been an important problem in Europe for many years, but until quite recently it has received little attention in the United States. One of the pioneers in the field of forestry in this country was Franklin B. Hough, whose Elements of Forestry is still a used and useful manual. Among his many schemes for attracting attention and study to this important subject was one of making actual sections of the wood of American trees, and arranging them in a compact and attractive manner for general distribution. This idea he never carried out, and it has remained for his son, Mr. R. B. Hough, to finally carry out the scheme, by publishing a complete series of such sections, carefully prepared and compactly bound.[61] In Part I of the series there are cuttings representing twenty-five species of American trees. The sections are sufficiently thin to allow of their study by transmitted light. There are three cuttings from each species, transverse, radial, and tangential to the grain. An accompanying text gives a condensed description of each tree, including its physical properties, uses, and habitat. These descriptions are preceded by a useful introduction to the study of general botany, describing the methods of distinguishing and naming the various parts of plants and trees, and giving an account of their structure and methods of growth. The actual wood sections, quite apart from their scientific value, are worthy of attention because of their great beauty. They are substantially mounted on black cardboard, each card containing the three sections of a species, and its common name in English, French, German, and Spanish. The thinness of the cuttings makes it possible to use them as transparencies, thus bringing out the texture of the wood in a very effective way.
Prof. Charles Reid Barnes is impressed with the fact that while laboratory work has become nearly universal in botany, and laboratory manuals are numerous, there is still a lack of books giving an elementary account of the form and functions of plants of all groups. To supply this want he offers Plant Life[62] as an attempt to exhibit the variety and progressive complexity of the vegetative body; to discuss the more important functions; to explain the unity of plan in both the structure and action of the reproductive organs; and to give an outline of the more striking ways in which plants adapt themselves to the world about them. He has made the effort to treat these subjects so that, however much the student may still have to learn, he will have little to unlearn. The book is not intended to be memorized and recited, but to be intelligible to pupils from thirteen to eighteen years of age who are engaged in genuine laboratory study under the direction "of a live teacher who has studied far more botany than he is trying to teach." It is adapted to use supplementarily to any laboratory guide or to the directions prepared by the teacher. The directions are made fullest in relation to cryptogams and physiology, because these fields are at present most unfamiliar to teachers.
Attaching great importance to Electro-Dynamics, which he thinks will in the near future assume the same relation to the electric motor that the science of thermo-dynamics already bears to the steam engine, Mr. Charles Ashley Carus-Wilson aims in the book of that name[63] to apply the principles of that science to the direct-current motor. Writing for electrical engineers particularly, he takes for granted a certain acquaintance with the use and design of motors, but avoids unexplained technicalities as far as possible. He has not deemed it necessary to deal with self-induction, except in connection with the question of sparking. The numerical accuracy attempted has been limited to that attainable with an ordinary ten-inch slide rule, on which all the examples have been worked out. Importance is attached to the graphic method of solution.
Of Dr. Frank Overton's three books on Applied Physiology,[64] the first or primary grade follows a natural order of treatment, presenting in each subject elementary anatomical facts in a manner that impresses function rather than form, and from the form described derives the function. The facts and principles are then applied to everyday life. The intermediate grade, besides being an introduction to the study of anatomy and physiology, is intended to be a complete elementary book in itself, giving a clear picture of how each organ of the body performs its work. The advanced grade book was suggested by a series of popular lectures in which the author presented the essential principles of physiology about which a physician is consulted daily. His explanations of many common facts were novel to his auditors, and it was found that the school books were silent upon many of these points, especially with regard to the cells. Throughout the series the fact that the cells are the units in which life exists and acts is emphasized. The author has endeavored to include all the useful points of the older text-books, and to add such new matter as the recent progress of physiological and hygienic science demands. Avoiding technical terms, he has sought to express the truths in simple language, "such as he would use in instructing a mother as to the nature of the sickness of her child." The subjects of alcohol and other narcotics are made prominent in all the books, and are discussed fully in the third of the series. The relation of respiration and oxidation to the disappearance of food, to the production of waste matters, and to the development of heat and force, is dwelt upon. Simple and easy demonstrations, many of them new, are provided at the ends of chapters. A chapter on Repairs of Injuries, or the restoration of the natural functions, when impaired, by the body, is new in a school textbook.