PROFESSIONAL INSTITUTIONS. 445 



[After the above chapter was written my attention was drawn 

 to a passage in the late Prof. Henry Morley's work, A First Sketch 

 of English Literature (p. 209), which in short space yields verifica- 

 tion for the various leading propositions contained in it and in the 

 preceding chapter : 



" Our English ballads are akin to those which also among the Scandina- 

 vians became a familiar social amusement of the people. They were recited 

 by one of a company with animation and with varying expression, while 

 the rest kept time, often with joined hands forming a circle, advancing, 

 retiring, balancing, sometimes remaining still, and, by various movements 

 and gestures, followed changes of emotion in the story. Not only in Spain 

 did the people keep time by dance movement to the measure of the ballad, 

 for even to this day one may see, in the Faroe Islands, how winter evenings 

 of the North were cheered with ballad recitations, during which, according 

 to the old northern fashion, gestures and movements of the listeners ex- 

 pressed emotions of the story as the people danced to their old ballads and 

 songs." 



Here, then, as in the Hebrew triumphal reception of the living 

 hero, and the Greek worship of the apotheosized hero, we see a 

 union of music and the dance, and with them a union of rhyth- 

 mical speech with some dramatic representation of the incidents 

 described, and of the emotions caused by the description. We see 

 that everywhere there has tended to bud out afresh the combined 

 manifestations of exalted feeling from which these various arts 

 originate. Another fact is forced upon our attention. We are 

 shown that in all cases, while there arises some one of a group 

 who becomes singer or reciter, the rest assume the character of 

 chorus. This segregation, which characterized the religious wor- 

 ship of the Greeks and characterized also their dramatic repre- 

 sentations, is not only displayed in later times by the cathedral 

 choir, which shares the service with the solo-singers, and by the 

 operatic chorus which does the like on the stage, but is also 

 displayed by the choral accompanists described in the above 

 passage, and even now survives among us as the chorus which 

 habitually winds up the successive verses of a convivial song 

 in a public house.] 



Describing a lecture by Dean Buckland on Kent's Cavern, Sir Henry Ackland 

 says that the lecturer "paced like a Franciscan preacher up and clown behind a 

 long show-case, up two steps, in a room in the old Clarendon (at Oxford). He 

 had in his hands a huge hyena's skull. He suddenly dashed down the steps, 

 rushed, skull in hand, at the first undergraduate on the front bench, and shouted, 

 'What rules the world?' The youth, terrified, threw himself against the next 

 back seat, and auswered not a word. He rushed then on me, pointing the hyena 

 full iu my face: 'What rules the world?' 'Haven't an idea,' I said. 'The 

 stomach, sir,' he said (again mounting his rostrum), 'rules the world. The great 

 ones eat the less, and the less the lesser still.' " 



