The Descent of Man, and Selection in Relation to Sex

A critic has asked how the ears of man, and he ought to have added of other animals, could have been adapted by selection so as to distinguish musical notes. But this question shews some confusion on the subject; a noise is the sensation resulting from the co-existence of several aerial "simple vibrations" of various periods, each of which intermits so frequently that its separate existence cannot be perceived. It is only in the want of continuity of such vibrations, and in their want of harmony inter se, that a noise differs from a musical note. Thus an ear to be capable of discriminating noises – and the high importance of this power to all animals is admitted by every one – must be sensitive to musical notes. We have evidence of this capacity even low down in the animal scale: thus Crustaceans are provided with auditory hairs of different lengths, which have been seen to vibrate when the proper musical notes are struck. (32. Helmholtz, 'Theorie Phys. de la Musique,' 1868, p. 187.) As stated in a previous chapter, similar observations have been made on the hairs of the antennae of gnats. It has been positively asserted by good observers that spiders are attracted by music. It is also well known that some dogs howl when hearing particular tones. (33. Several accounts have been published to this effect. Mr. Peach writes to me that an old dog of his howls when B flat is sounded on the flute, and to no other note. I may add another instance of a dog always whining, when one note on a concertina, which was out of tune, was played.) Seals apparently appreciate music, and their fondness for it "was well known to the ancients, and is often taken advantage of by the hunters at the present day." (34. Mr. R. Brown, in 'Proc. Zool. Soc.' 1868, p. 410.)

Therefore, as far as the mere perception of musical notes is concerned, there seems no special difficulty in the case of man or of any other animal. Helmholtz has explained on physiological principles why concords are agreeable, and discords disagreeable to the human ear; but we are little concerned with these, as music in harmony is a late invention. We are more concerned with melody, and here again, according to Helmholtz, it is intelligible why the notes of our musical scale are used. The ear analyses all sounds into their component "simple vibrations," although we are not conscious of this analysis. In a musical note the lowest in pitch of these is generally predominant, and the others which are less marked are the octave, the twelfth, the second octave, etc., all harmonies of the fundamental predominant note; any two notes of our scale have many of these harmonic over-tones in common. It seems pretty clear then, that if an animal always wished to sing precisely the same song, he would guide himself by sounding those notes in succession, which possess many over- tones in common – that is, he would choose for his song, notes which belong to our musical scale.

But if it be further asked why musical tones in a certain order and rhythm give man and other animals pleasure, we can no more give the reason than for the pleasantness of certain tastes and smells. That they do give pleasure of some kind to animals, we may infer from their being produced during the season of courtship by many insects, spiders, fishes, amphibians, and birds; for unless the females were able to appreciate such sounds and were excited or charmed by them, the persevering efforts of the males, and the complex structures often possessed by them alone, would be useless; and this it is impossible to believe.

Human song is generally admitted to be the basis or origin of instrumental music. As neither the enjoyment nor the capacity of producing musical notes are faculties of the least use to man in reference to his daily habits of life, they must be ranked amongst the most mysterious with which he is endowed. They are present, though in a very rude condition, in men of all races, even the most savage; but so different is the taste of the several races, that our music gives no pleasure to savages, and their music is to us in most cases hideous and unmeaning. Dr. Seemann, in some interesting remarks on this subject (35. 'Journal of Anthropological Society,' Oct. 1870, p. clv. See also the several later chapters in Sir John Lubbock's 'Prehistoric Times,' 2nd ed. 1869, which contain an admirable account of the habits of savages.), "doubts whether even amongst the nations of Western Europe, intimately connected as they are by close and frequent intercourse, the music of the one is interpreted in the same sense by the others. By travelling eastwards we find that there is certainly a different language of music. Songs of joy and dance- accompaniments are no longer, as with us, in the major keys, but always in the minor." Whether or not the half-human progenitors of man possessed, like the singing gibbons, the capacity of producing, and therefore no doubt of appreciating, musical notes, we know that man possessed these faculties at a very remote period. M. Lartet has described two flutes made out of the bones and horns of the reindeer, found in caves together with flint tools and the remains of extinct animals. The arts of singing and of dancing are also very ancient, and are now practised by all or nearly all the lowest races of man. Poetry, which may be considered as the offspring of song, is likewise so ancient, that many persons have felt astonished that it should have arisen during the earliest ages of which we have any record.

We see that the musical faculties, which are not wholly deficient in any race, are capable of prompt and high development, for Hottentots and Negroes have become excellent musicians, although in their native countries they rarely practise anything that we should consider music. Schweinfurth, however, was pleased with some of the simple melodies which he heard in the interior of Africa. But there is nothing anomalous in the musical faculties lying dormant in man: some species of birds which never naturally sing, can without much difficulty be taught to do so; thus a house-sparrow has learnt the song of a linnet. As these two species are closely allied, and belong to the order of Insessores, which includes nearly all the singing-birds in the world, it is possible that a progenitor of the sparrow may have been a songster. It is more remarkable that parrots, belonging to a group distinct from the Insessores, and having differently constructed vocal organs, can be taught not only to speak, but to pipe or whistle tunes invented by man, so that they must have some musical capacity. Nevertheless it would be very rash to assume that parrots are descended from some ancient form which was a songster. Many cases could be advanced of organs and instincts originally adapted for one purpose, having been utilised for some distinct purpose. (36. Since this chapter was printed, I have seen a valuable article by Mr. Chauncey Wright ('North American Review,' Oct. 1870, page 293), who, in discussing the above subject, remarks, "There are many consequences of the ultimate laws or uniformities of nature, through which the acquisition of one useful power will bring with it many resulting advantages as well as limiting disadvantages, actual or possible, which the principle of utility may not have comprehended in its action." As I have attempted to shew in an early chapter of this work, this principle has an important bearing on the acquisition by man of some of his mental characteristics.) Hence the capacity for high musical development 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, 'Säugethiere 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 natives of the Upper Nile knock out the four front teeth, saying that they do not wish to resemble brutes. Further south, the Batokas knock out only the two upper incisors, which, as Livingstone (47. 'Travels,' p. 533.) remarks, gives the face a hideous appearance, owing to the prominence of the lower jaw; but these people think the presence of the incisors most unsightly, and on beholding some Europeans, cried out, "Look at the great teeth!" The chief Sebituani tried in vain to alter this fashion. In various parts of Africa and in the Malay Archipelago the natives file the incisors into points like those of a saw, or pierce them with holes, into which they insert studs.

As the face with us is chiefly admired for its beauty, so with savages it is the chief seat of mutilation. In all quarters of the world the septum, and more rarely the wings of the nose are pierced; rings, sticks, feathers, and other ornaments being inserted into the holes. The ears are everywhere pierced and similarly ornamented, and with the Botocudos and Lenguas of South America the hole is gradually so much enlarged that the lower edge touches the shoulder. In North and South America and in Africa either the upper or lower lip is pierced; and with the Botocudos the hole in the lower lip is so large that a disc of wood, four inches in diameter, is placed in it. Mantegazza gives a curious account of the shame felt by a South American native, and of the ridicule which he excited, when he sold his tembeta, – the large coloured piece of wood which is passed through the hole. In Central Africa the women perforate the lower lip and wear a crystal, which, from the movement of the tongue, has "a wriggling motion, indescribably ludicrous during conversation." The wife of the chief of Latooka told Sir S. Baker (49. 'The Albert N'yanza,' 1866, vol. i. p. 217.) that Lady Baker "would be much improved if she would extract her four front teeth from the lower jaw, and wear the long pointed polished crystal in her under lip." Further south with the Makalolo, the upper lip is perforated, and a large metal and bamboo ring, called a pelele, is worn in the hole. "This caused the lip in one case to project two inches beyond the tip of the nose; and when the lady smiled, the contraction of the muscles elevated it over the eyes. 'Why do the women wear these things?' the venerable chief, Chinsurdi, was asked. Evidently surprised at such a stupid question, he replied, 'For beauty! They are the only beautiful things women have; men have beards, women have none. What kind of a person would she be without the pelele? She would not be a woman at all with a mouth like a man, but no beard.'" (49. Livingstone, 'British Association,' 1860; report given in the 'Athenaeum,' July 7, 1860, p. 29.)

Hardly any part of the body, which can be unnaturally modified, has escaped. The amount of suffering thus caused must have been extreme, for many of the operations require several years for their completion, so that the idea of their necessity must be imperative. The motives are various; the men paint their bodies to make themselves appear terrible in battle; certain mutilations are connected with religious rites, or they mark the age of puberty, or the rank of the man, or they serve to distinguish the tribes. Amongst savages the same fashions prevail for long periods (50. Sir S. Baker (ibid. vol. i. p. 210) speaking of the natives of Central Africa says, "every tribe has a distinct and unchanging fashion for dressing the hair." See Agassiz ('Journey in Brazil,' 1868, p. 318) on invariability of the tattooing of Amazonian Indians.), and thus mutilations, from whatever cause first made, soon come to be valued as distinctive marks. But self-adornment, vanity, and the admiration of others, seem to be the commonest motives. In regard to tattooing, I was told by the missionaries in New Zealand that when they tried to persuade some girls to give up the practice, they answered, "We must just have a few lines on our lips; else when we grow old we shall be so very ugly." With the men of New Zealand, a most capable judge (51. Rev. R. Taylor, 'New Zealand and its Inhabitants,' 1855, p. 152.) says, "to have fine tattooed faces was the great ambition of the young, both to render themselves attractive to the ladies, and conspicuous in war." A star tattooed on the forehead and a spot on the chin are thought by the women in one part of Africa to be irresistible attractions. (52. Mantegazza, 'Viaggi e Studi,' p. 542.) In most, but not all parts of the world, the men are more ornamented than the women, and often in a different manner; sometimes, though rarely, the women are hardly at all ornamented. As the women are made by savages to perform the greatest share of the work, and as they are not allowed to eat the best kinds of food, so it accords with the characteristic selfishness of man that they should not be allowed to obtain, or use the finest ornaments. Lastly, it is a remarkable fact, as proved by the foregoing quotations, that the same fashions in modifying the shape of the head, in ornamenting the hair, in painting, tattooing, in perforating the nose, lips, or ears, in removing or filing the teeth, etc., now prevail, and have long prevailed, in the most distant quarters of the world. It is extremely improbable that these practices, followed by so many distinct nations, should be due to tradition from any common source. They indicate the close similarity of the mind of man, to whatever race he may belong, just as do the almost universal habits of dancing, masquerading, and making rude pictures.

Having made these preliminary remarks on the admiration felt by savages for various ornaments, and for deformities most unsightly in our eyes, let us see how far the men are attracted by the appearance of their women, and what are their ideas of beauty. I have heard it maintained that savages are quite indifferent about the beauty of their women, valuing them solely as slaves; it may therefore be well to observe that this conclusion does not at all agree with the care which the women take in ornamenting themselves, or with their vanity. Burchell (53. 'Travels in South Africa,' 1824, vol. i. p. 414.) gives an amusing account of a Bush-woman who used as much grease, red ochre, and shining powder "as would have ruined any but a very rich husband." She displayed also "much vanity and too evident a consciousness of her superiority." Mr. Winwood Reade informs me that the negroes of the West Coast often discuss the beauty of their women. Some competent observers have attributed the fearfully common practice of infanticide partly to the desire felt by the women to retain their good looks. (54. See, for references, Gerland, 'Ueber das Aussterben der Naturvölker,' 1868, ss. 51, 53, 55; also Azara, 'Voyages,' etc., tom. ii. p. 116.) In several regions the women wear charms and use love-philters to gain the affections of the men; and Mr. Brown enumerates four plants used for this purpose by the women of North-Western America. (55. On the vegetable productions used by the North-Western American Indians, see 'Pharmaceutical Journal,' vol. x.)