playing with a living or dead
prey: the dog and cat following moving objects, a ball, feather, etc.
(4) Mimic battles, teasing and fighting without anger. (5) Architectural
art, revealing itself especially in the building of nests: certain birds
ornament them with shining objects (stones, bits of glass), by a kind of
anticipation of the esthetic feeling. (6) Doll-play is universal in
mankind, whether civilized or savage. Groos believes he has found its
equivalent in certain animals. (7) Imitation through pleasure, so
familiar in monkeys (grimaces); singing-birds which counterfeit the
voices of a large number of beasts. (8) Curiosity, which is the only
mental play one meets in animals--the dog watching, from a wall or
window, what is going on in the street. (9) Love-plays, "which differ
from the others in that they are not mere exercises, but have in view a
real object." They have been well-known since Darwin's time, he
attributing to them an esthetic value which has been denied by Wallace,
Tylor, Lloyd Morgan, Wallaschek, and Groos.

Let us recapitulate in thought the immense quantity of motor expressions
included in these nine categories and let us note that they have the
following characters in common: They are grouped in combinations that
are often new and unforeseen; they are not a repetition of daily life,
acts necessary for self-preservation. At one time the movements are
combined simultaneously (exhibition of beautiful colors), again (and
most often) successively (amorous parades, fights, flight, dancing,
emission of noises, sounds or songs); but, under one form or another,
there is _creation_, _invention_. Here, the imagination acts in its
purely motor character; it consists of a small number of images that
become translated into actions, and serve as a center for their
grouping; perhaps even the image itself is hardly conscious, so that all
is limited to a spontaneous production and a collection of motor
phenomena.

It will doubtless be said that this form of imagination belongs to a
very shallow, poor psychology. It cannot be otherwise. It is necessary
that imaginative production be found reduced to its simplest expression
in animals, and the motor form must be its special characteristic mark.
It cannot have any others for the following reasons: incapacity for the
work that necessarily precedes abstraction or dissociation, breaking
into bits the data of experience, making them raw material for the
future co