THE PLAY OF ANIMALS. 75 
ness, as well as happiness, if they let their bairns play. That 
would probably do more than increased postal communication 
to lay aside “ life-harming heaviness.” 
To return from this digression, we may, I suppose, say, 
negatively, that play is not work, though it may be as hard ; 
that play is not mere exercise, though perhaps it exercises 
best ; that play has no seriously perceived or conceived end 
for the sake of which it is played, though it may be, while 
it lasts, most serious; that it is not necessarily social, for 
many a man and beast may be very happy playing alone ; 
and that it is not necessarily competitive, though that often 
gives zest to it. Of its positive content, we shall speak 
later on. 
I may also note that, because of the complex difficulties 
involved, I have left out of consideration anything that 
might be interpreted as love-play or courting-play, and have 
kept mainly to the play of young animals. 
There are theories about everything nowadays, and there 
are two main theories as to the play of young creatures. 
The first theory is that play is an expression of over- 
flowing vigour, energy, and animal spirits; that it is the by- 
play of vigour. 
This view was first clearly stated by Schiller; it was, 
long afterwards, elaborated by Herbert Spencer—a strange 
contrast. 
The theory is simple; but it is too simple, and breaks 
down twice. No doubt the young creature is an over- 
flowing well of energy ; but even the wearied animal or child 
will turn in a moment from fatigue to play, and the theory 
does not in the least explain the characteristic forms of play 
in different creatures. In fact, the theory only states one 
of the internal or physiological conditions of play—there 
must be some energy to spare. That there should be 
a superabundance of energy is certainly not essential. 
Schiller’s theory of play was re-expressed, as I have said, 
by Herbert Spencer, but he, feeling its inadequacy, eked it 
out by laying emphasis on imitation. According to Spencer, 
the cause is superfluous energy ; imitation defines the channel 
of expression. The youngsters mimic in play what they see 
their seniors do in earnest. 
