786 Dynamic Theory. 



lated, or factitious emotions. Actors often "work themselves" into 

 such a realizing sense of the part they are performing, that their dem- 

 onstrations of emotions are natural, the feeling itself being the play. 

 And the people in the audience allow themselves to sympathize with 

 counterfeit misfortunes, and to weep over what they know, and 

 even realize to be unreal sorrows. There is this sort of acting in the 

 play of dogs, in which, by going through the motions of fighting, by 

 biting, growling, and struggling, the fighting feeling is factitiously 

 excited and unpurposive horripilation is the result. In chapter 73 it is 

 shown how the emotional state is induced in hypnotic subjects, by caus- 

 ing them to perform the "expressions" or demonstrations usually follow- 

 ing such emotional state. The machine is worked backwards, and a 

 factitious sentiment is produced by mechanical movement. This is 

 practically the same thing that occurs when we see the acting in another 

 person, as at the theater, or when it is presented to us through the sense 

 of hearing, by speeches and sermons, or by seeing pictures and reading 

 books. 



1 ' Birds belonging to all the chief orders, ruffle their feathers when 

 angry or frightened." (Darwin. ) Everyone has seen a hen do this, and 

 it has been observed of the Owl, Swan, Cassowary, Hawk, Cuckoo, 

 Pinch, Bunting, Warbler, &c. The game cock and the male Ruff ele- 

 vate the feathers around the neck when they are about to fight, and 

 sometimes the cock raises the feathers of the head. It is curious that 

 such a detail of emotional expression should have become developed in 

 two such widety diverging departments of animated nature as the birds 

 and mammals. But this development is traceable to the common an- 

 cestry of both; namely, the reptiles; for certain male lizzards when 

 fighting erect their dorsal crests, although it is thought the scales or 

 spines are not acted on separately. When birds are endeavoring to hide 

 or get away from an enem}^ instead of fighting, their feathers fall, and 

 lie as close as possible to the body, reducing their bulk to the smallest 

 dimensions. Birds appear to ha\e purposive control, to some extent, 

 of the elevation and depression of their feathers, but under the influ- 

 ence of sudden terror they are elevated by reflex stimulation from the 

 brain. The erection of the neck feathers of the game cock must be in- 

 voluntar} r , for it is said by gaming experts that such erection is a disad- 

 vantage in fighting, and so these .feathers are sometimes cut off. The 

 erection of the head feathers, too, is a sign of cowardice, so of course 

 that must be purely emotional, as no animal would voluntarily advertise 

 itself a coward. 



Warner ingeniously and truthfully generalizes all the effects of forces 

 at work in organic nature, and even inorganic nature, as the expression 

 of such forces. The expansion of the mercury in a thermometer is an 



