166 THE PLAY OF ANIMALS. 



to aesthetic enjoyment, surely the same instinct di- 

 rected toward building can be regarded as an antece- 

 dent to aesthetic production. I find three principles 

 influential in the production of human art: First, 

 self -exhibition * (Selbstdarstellung); second, imitation; 

 third, ornamentation. Now one of these and now an- 

 other seems to be more important, but it always proves 

 on examination that they are all essential. (I shall 

 have more to say on this point in the last chapter.) 

 The examples I have cited emphasize the principle of 

 ornamentation chiefly, but the other two were present 

 also. The habits of the warbler, for instance, suggest 

 that inherited instinct is not working alone, but is as- 

 sisted by tradition, for the younger birds seem to imitate 

 what they see their elders do. So it appears that imi- 

 tation has a part in the formation of any habit where 

 the young prefer, as their model, those of the older ones 

 who have distinguished themselves in the art in ques- 

 tion. 



Something akin to self-exhibition is discernible too. 

 That feeling which is so plainly shown in the sportive 

 love-making of the bird probably has something to do 

 with the fanciful trimming of his nest. Just as we 

 extend our ego to the ends of our canes and to the top 

 of our high hats, as Lotze says, just as we are vain of 

 well-made clothes, of a fine establishment, of the orna- 

 mental fagade of our house, or even of the advantages 

 of the neighbourhood in which we live, so the bird 

 may feel a pride in the striking or sensuous pleasing 

 object, that is akin to self -exhibition. 



* [An English term suggested by Baldwin (Psycholog. Review, 

 i, Nov., 1894, p. 620), with reference to Marshall's Pain, Pleasure, 

 and ^Esthetics, and accepted by Marshall.] 



