vincible sadness, and animals are
affected in the same way.

It is evident that the formation of the scale, the essential foundation
of music, varies with, the epoch, climate, habits, and physiological
conditions of the different races which have successively adopted the
diatonic, the major, and minor scales. The music of the Chinese differs
from our own, and while it is equally elaborate, it does not quite
please us, and the same may be said of the music of the Indians, of the
ancient Egyptians, and others. Undoubtedly our scale is more convenient
and conformable to art, setting aside the physiological conditions of
race, since the notes separated by regular intervals form a more
spiritual and independent, in short a more artistic system.

Such are briefly the characteristics of the genesis of song and of
music, the actual conditions which make them possible, and their effect
on man and animals. We must now consider the subject from the mythical
point of view, as we have done in the case of the other arts. We know
that the image and emotions are mythically personified by us, and this
fanciful reality is afterwards infused into the words used in its
expression. It follows from this that speech is not only spontaneously
and unconsciously personified as the material covering of the idea or
emotion enclosed in it, but that the same thing occurs in language as a
whole, at first vaguely, but afterwards in a definite and reflective
manner, in consequence of intellectual development. Among all civilized
peoples, whether extinct or still in existence, speech is not only
personified in the complex idea or language, but it is deified. It is
well known that this is the case in all phases of Eastern Christianity,
and that the other Christian churches have since identified the
Graeco-Eastern idea of the Logos with the Messianic ideas engrafted upon
it. If among the prehistoric peoples which most resemble modern savages,
speech was personified by the necessity of the perceptive faculty, a
vague power was certainly ascribed to it, and even a simple murmur or
whisper was supposed to have a direct and personal influence on things,
men, and animals. Magic, which is the primitive expression of fetishtic
power, embodied in a man, had its most efficacious form in the utterance
of words, cries, whispers, or songs, referring to the malign or to the
healing and beneficent arts, and it was employed to arouse or to calm
storms, to destroy or im