V. 

 Till: OKKilX AM) ITXCTIOX OF MUSIC 



&quot;T.T~^&quot;IIKX Carlo, standing, chained to his kennel, sees 

 \ V liis ma-tcr in tin; distance, :i slight motion of the 

 tail indicates his hut 1 aint hope that he is ahout to he let 

 out. A much more decided wairpni; &amp;lt;&amp;gt;f the tail, passing 

 by-and-hy into lateral undulations of the hody, follows his 

 master s nearer approach. &quot;\Vhen hands are laid on his 

 collar, and he knows that he is really to have an outing, 

 his jumping and wri .rifling arc siu-h that it is hy nr means 

 easy to loose his fastenings. And when he finds himself 

 actuallv free, his joy expends itself in hounds, in pirouettes, 

 and in scourin^s hither and thither at the top of his speed. 

 Puss, too, hy erect mi; her tail, ::nd hy every time raising 

 her hack to imvl the oaivs&amp;gt;in^ hand of her mistress, 

 similarly expresses her ^ratilieation hy cer ain muscular 

 actions; as likewise do the p:\rrot hy awkward dancing 

 on his perch, and the canary hy hopping :;ml llutterin.^ 

 ahout his ea;_re ^\ ith unwonted rapidity. I nder emotions 

 of an opposite; kind, animals equally display muscular 

 excitement. The enraged lion laches his sides vith his 

 lail, knits liis hrows, jirotrudi S his claws. The cat sets 

 up her hack; the &amp;lt;h&amp;gt;^ retracts his upp-r lij) ; the horse 

 throws hack his (.MTS. And in the st rubles of creatures 

 in pain, we S e that the like relation holds between e.\- 



