The Descent of Man, Charles Darwin [top 100 books of all time checklist txt] 📗

which the savage races of man possess, may be due either to the practice by our semi-human progenitors of some rude form of music, or simply to their having acquired the proper vocal organs for a different purpose. But in this latter case we must assume, as in the above instance of parrots, and as seems to occur with many animals, that they already possessed some sense of melody.

Music arouses in us various emotions, but not the more terrible ones of horror, fear, rage, etc. It awakens the gentler feelings of tenderness and love, which readily pass into devotion. In the Chinese annals it is said, “Music hath the power of making heaven descend upon earth.” It likewise stirs up in us the sense of triumph and the glorious ardour for war. These powerful and mingled feelings may well give rise to the sense of sublimity. We can concentrate, as Dr. Seemann observes, greater intensity of feeling in a single musical note than in pages of writing. It is probable that nearly the same emotions, but much weaker and far less complex, are felt by birds when the male pours forth his full volume of song, in rivalry with other males, to captivate the female. Love is still the commonest theme of our songs. As Herbert Spencer remarks, “music arouses dormant sentiments of which we had not conceived the possibility, and do not know the meaning; or, as Richter says, tells us of things we have not seen and shall not see.” Conversely, when vivid emotions are felt and expressed by the orator, or even in common speech, musical cadences and rhythm are instinctively used. The negro in Africa when excited often bursts forth in song; “another will reply in song, whilst the company, as if touched by a musical wave, murmur a chorus in perfect unison.” (37. Winwood Reade, ‘The Martyrdom of Man,’ 1872, p. 441, and ‘African Sketch Book,’ 1873, vol. ii. p. 313.) Even monkeys express strong feelings in different tones— anger and impatience by low,—fear and pain by high notes. (38. Rengger, ‘Saugethiere von Paraguay,’ s. 49.) The sensations and ideas thus excited in us by music, or expressed by the cadences of oratory, appear from their vagueness, yet depth, like mental reversions to the emotions and thoughts of a long-past age.

All these facts with respect to music and impassioned speech become intelligible to a certain extent, if we may assume that musical tones and rhythm were used by our half-human ancestors, during the season of courtship, when animals of all kinds are excited not only by love, but by the strong passions of jealousy, rivalry, and triumph. From the deeply- laid principle of inherited associations, musical tones in this case would be likely to call up vaguely and indefinitely the strong emotions of a long-past age. As we have every reason to suppose that articulate speech is one of the latest, as it certainly is the highest, of the arts acquired by man, and as the instinctive power of producing musical notes and rhythms is developed low down in the animal series, it would be altogether opposed to the principle of evolution, if we were to admit that man’s musical capacity has been developed from the tones used in impassioned speech. We must suppose that the rhythms and cadences of oratory are derived from previously developed musical powers. (39. See the very interesting discussion on the ‘Origin and Function of Music,’ by Mr. Herbert Spencer, in his collected ‘Essays,’ 1858, p. 359. Mr. Spencer comes to an exactly opposite conclusion to that at which I have arrived. He concludes, as did Diderot formerly, that the cadences used in emotional speech afford the foundation from which music has been developed; whilst I conclude that musical notes and rhythm were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex. Thus musical tones became firmly associated with some of the strongest passions an animal is capable of feeling, and are consequently used instinctively, or through association when strong emotions are expressed in speech. Mr. Spencer does not offer any satisfactory explanation, nor can I, why high or deep notes should be expressive, both with man and the lower animals, of certain emotions. Mr. Spencer gives also an interesting discussion on the relations between poetry, recitative and song.) We can thus understand how it is that music, dancing, song, and poetry are such very ancient arts. We may go even further than this, and, as remarked in a former chapter, believe that musical sounds afforded one of the bases for the development of language. (40. I find in Lord Monboddo’s ‘Origin of Language,’ vol. i. 1774, p. 469, that Dr. Blacklock likewise thought “that the first language among men was music, and that before our ideas were expressed by articulate sounds, they were communicated by tones varied according to different degrees of gravity and acuteness.”)

As the males of several quadrumanous animals have their vocal organs much more developed than in the females, and as a gibbon, one of the anthropomorphous apes, pours forth a whole octave of musical notes and may be said to sing, it appears probable that the progenitors of man, either the males or females or both sexes, before acquiring the power of expressing their mutual love in articulate language, endeavoured to charm each other with musical notes and rhythm. So little is known about the use of the voice by the Quadrumana during the season of love, that we have no means of judging whether the habit of singing was first acquired by our male or female ancestors. Women are generally thought to possess sweeter voices than men, and as far as this serves as any guide, we may infer that they first acquired musical powers in order to attract the other sex. (41. See an interesting discussion on this subject by Haeckel, ‘Generelle Morphologie,’ B. ii. 1866, s. 246.) But if so, this must have occurred long ago, before our ancestors had become sufficiently human to treat and value their women merely as useful slaves. The impassioned orator, bard, or musician, when with his varied tones and cadences he excites the strongest emotions in his hearers, little suspects that he uses the same means by which his half-human ancestors long ago aroused each other’s ardent passions, during their courtship and rivalry.

THE INFLUENCE OF BEAUTY IN DETERMINING THE MARRIAGES OF MANKIND.

In civilised life man is largely, but by no means exclusively, influenced in the choice of his wife by external appearance; but we are chiefly concerned with primeval times, and our only means of forming a judgment on this subject is to study the habits of existing semi-civilised and savage nations. If it can be shewn that the men of different races prefer women having various characteristics, or conversely with the women, we have then to enquire whether such choice, continued during many generations, would produce any sensible effect on the race, either on one sex or both according to the form of inheritance which has prevailed.

It will be well first to shew in some detail that savages pay the greatest attention to their personal appearance. (42. A full and excellent account of the manner in which savages in all parts of the world ornament themselves, is given by the Italian traveller, Professor Mantegazza, ‘Rio de la Plata, Viaggi e Studi,’ 1867, pp. 525-545; all the following statements, when other references are not given, are taken from this work. See, also, Waitz, ‘Introduction to Anthropology,’ Eng. translat. vol. i. 1863, p. 275, et passim. Lawrence also gives very full details in his ‘Lectures on Physiology,’ 1822. Since this chapter was written Sir J. Lubbock has published his ‘Origin of Civilisation,’ 1870, in which there is an interesting chapter on the present subject, and from which (pp. 42, 48) I have taken some facts about savages dyeing their teeth and hair, and piercing their teeth.) That they have a passion for ornament is notorious; and an English philosopher goes so far as to maintain, that clothes were first made for ornament and not for warmth. As Professor Waitz remarks, “however poor and miserable man is, he finds a pleasure in adorning himself.” The extravagance of the naked Indians of South America in decorating themselves is shewn “by a man of large stature gaining with difficulty enough by the labour of a fortnight to procure in exchange the chica necessary to paint himself red.” (43. Humboldt, ‘Personal Narrative,’ Eng. translat. vol. iv. p. 515; on the imagination shewn in painting the body, p. 522; on modifying the form of the calf of the leg, p. 466.) The ancient barbarians of Europe during the Reindeer period brought to their caves any brilliant or singular objects which they happened to find. Savages at the present day everywhere deck themselves with plumes, necklaces, armlets, ear-rings, etc. They paint themselves in the most diversified manner. “If painted nations,” as Humboldt observes, “had been examined with the same attention as clothed nations, it would have been perceived that the most fertile imagination and the most mutable caprice have created the fashions of painting, as well as those of garments.”

In one part of Africa the eyelids are coloured black; in another the nails are coloured yellow or purple. In many places the hair is dyed of various tints. In different countries the teeth are stained black, red, blue, etc., and in the Malay Archipelago it is thought shameful to have white teeth “like those of a dog.” Not one great country can be named, from the polar regions in the north to New Zealand in the south, in which the aborigines do not tattoo themselves. This practice was followed by the Jews of old, and by the ancient Britons. In Africa some of the natives tattoo themselves, but it is a much more common practice to raise protuberances by rubbing salt into incisions made in various parts of the body; and these are considered by the inhabitants of Kordofan and Darfur “to be great personal attractions.” In the Arab countries no beauty can be perfect until the cheeks “or temples have been gashed.” (44. ‘The Nile Tributaries,’ 1867; ‘The Albert N’yanza,’ 1866, vol. i. p. 218.) In South America, as Humboldt remarks, “a mother would be accused of culpable indifference towards her children, if she did not employ artificial means to shape the calf of the leg after the fashion of the country.” In the Old and New Worlds the shape of the skull was formerly modified during infancy in the most extraordinary manner, as is still the case in many places, and such deformities are considered ornamental. For instance, the savages of Colombia (45. Quoted by Prichard, ‘Physical History of Mankind,’ 4th ed. vol. i. 1851, p. 321.) deem a much flattened head “an essential point of beauty.”

The hair is treated with especial care in various countries; it is allowed to grow to full length, so as to reach to the ground, or is combed into “a compact frizzled mop, which is the Papuan’s pride and glory.” (46. On the Papuans, Wallace, ‘The Malay Archipelago,’ vol. ii. p. 445. On the coiffure of the Africans, Sir S. Baker, ‘The Albert N’yanza,’ vol. i. p. 210.) In northern Africa “a man requires a period of from eight to ten years to perfect his coiffure.” With other nations the head is shaved, and in parts of South America and Africa even the eyebrows and eyelashes are eradicated. The