50 APES AND MONKEYS 



of her voice were perfectly musical. She bent her body 

 first into one curve and then into another, moved her feet 

 with the grace of the minuet, and continued her fervent 

 speech as long as the object of her adoration appeared to 

 be touched by her appeals. Her voice ranged from pitch 

 to pitch and from key to key, through the whole gamut of 

 simian vocals, and with her arms folded she glided with 

 the skill of a ballet girl across the floor of her cage. At 

 times she stood with her eyes fixed upon her keeper, and 

 held her face in such a position as not for a moment 

 to lose si^ht of him. Meanwhile she turned her bodv 

 entirely around in her tracks. This was accomplished 

 with a skill such as no contortionist has ever attained. 

 During these orations her eyes moistened as if in tears, 

 showing that she felt the sentiment which her speech was 

 intended to convey. 



These little creatures do not shed tears as human 

 beings do ; but their eyes moisten as a result of the same 

 causes that move the human eyes to tears. 



These sounds appeal directly to our better feelings. 

 What there is in the sound itself we do not really know, 

 but it touches some chord in the human heart which 

 vibrates in response to it. It has impressed me with the 

 poetic thought that all our senses are like the strings 

 of a great harp, each chord having a certain tension, so 

 that any sound produced through an emotion finds a re- 

 sponse in that chord with which it is in unison. Possibly 

 our emotions and sensations are like the diatonic scale in 

 music, and the organs through which they act respond in 

 tones and semitones. Each multiple of any fundamental 



