[11] Cf. Kant, l.c. p. 66.
[12] Guyau, Les problèmes de l’esthétique contemporaine, livre i.
[13] Cf. Stolpe, Utvecklingsföreteelser i naturfolkens ornamentik, i.-ii. in Ymer, 1890-1891. An English translation by Mrs. H. C. March is published in Transactions of the Rochdale Literary and Scientific Society, 1891. Read, “On the Origin, etc., of Certain Ornaments of the S. E. Pacific,” in Journ. Anthr. Inst. xxi. Cf. also March, “Polynesian Ornament, a Mythography,” in Journ. Anthr. Inst. xxii.
[14] Catlin, Illustrations, etc., i. pp. 127, 128, Mandan buffalo dance. A similar dance among the Iroquois has been described by Morgan (Iroquois, p. 287), who does not, however, speak of any magical purpose. Although somewhat differently explained by Catlin, the Sioux bear dance (l.c. i. p. 245) is no doubt as magical in its intention as the buffalo dance. The same interpretation holds good also, we believe, with regard to the gorilla dance of the Negroes (Reade, Savage Africa, pp. 195, 196) and the hunting pantomimics of the Koossa Kaffirs (Lichtenstein, Travels, i. p. 269).
[15] Wallace, Darwinism, pp. 467, 468.
[16] For a direct opposition to Mr. Wallace’s views on this point see Wallaschek, Primitive Music, pp. 278, 279. Cf. also Ritchie, Darwinism and Politics, pp. 110-114.
[17] Cf. Guyau, Les problèmes de l’esthétique contemporaine, pp. 15, 24.
[18] For this characteristic term I am indebted to Professor J. M. Baldwin.
[19] Cf. chap. ix. in the sequel.
[20] Some brilliant and suggestive remarks on this point may be found in Guyau, Les problèmes de l’esthétique contemporaine, p. 12; and in Havelock Ellis, The New Spirit, pp. 234-236.