new thought entered my mind, whence others, differing from the
first, arose; and as I roamed from one to another I was tempted to close
my eyes, and thought was changed into a dream.

[34] See the theory by Lotze of local signs in the formation of the idea
of space, completed and modified by Wundt and others.

[35] Sometimes the name of a person, or of some part of the human form,
has been bestowed on a natural object without reference to their
analogy, but in this case the epithet has the converse effect of leading
us to imagine that it possesses the features or limbs of the human form.
And this is of equal value for our present inquiry.

[36] While these sheets were passing through the press, I was informed
of Berg's work on the Enjoyment of Music. ("_Die Lust an der Musik._"
Berlin, 1879.) Berg, who is a realist, inquires what is the source of
the pleasure we experience from the regular succession of sounds, which
he holds to be the primary essence of music. He finds the cause in some
of Darwin's theories and researches. Darwin observes that the epoch of
song coincides with that of love in the case of singing animals, birds,
insects, and some mammals; and from this Berg concludes that primitive
men, or rather anthropoids, made use of the voice to attract the
attention of females. Hence a relation was established between singing
and the sentiments of love, rivalry, and pleasure; this relation was
indissolubly fused into the nature by heredity, and it persisted even
after singing ceased to be excited by its primitive cause. This applies
to the general sense of pleasure in music. We have next to inquire why
the ear prefers certain sounds to others, certain combinations to
others, etc. Berg holds that it depends on negative causes, that the ear
does not select the most pleasing but the least painful sounds. He
relies on Helmholtz's fundamental theory of sounds. It seems to me that
although Helmholtz's theory is true, that of Berg is erroneous, since he
is quite unable to prove his assertion that the effect produced by music
is a negative pleasure. Moreover, the Darwinian observations to which he
traces the origin of the enjoyment of music, not only rely on an
arbitrary hypothesis, but do not explain why males should derive any
advantage from their voice, nor what pleasure and satisfaction females
find in it. And this, as Reinach justly observes in the _Revue
Philosophique_, is the point on which the problem turns.

C