V. 



THE ORIGIN AND FUNCTION OF MUSIC 



% 1 yT HEN Carlo, standing, chained to his kennel, sees 

 VV his master in the distance, a slight motion of the 

 tail indicates his but faint hope that he is about to be let 

 out. A much more decided wagging of the tail, passing 

 by-and-by into lateral undulations of the body, follows his 

 master's nearer approach. When hands are laid on his 

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

 his jumping and wriggling are such that it is by no means 

 easy to loose his fastenings. And when he finds himself 

 actually free, his joy expends itself in bounds, in pirouettes, 

 and in scourings hither and thither at the top of his speed. 

 Puss, too, by erecting her tail, and by every time raising 

 her back to meet the caressing hand of her mistress, 

 similarly expresses her gratification by certain muscular 

 actions ; as likewise do the parrot by awkward dancing 

 on his perch, and the canary by hopping and fluttering 

 about his cage with unwonted rapidity. Under emotions 

 of an opposite kind, animals equally display muscular 

 excitement. The enraged lion lashes his sides with his 

 tail, knits his brows, protrudes his claws. The cat sets 

 up her back ; the dog retracts his upper lij) ; the horse 

 throws back his ears. And in the struggles of creatures 

 In pain, we see that the like relation holds between ex* 



