a tone.  Benfey traces the Greek [Greek:  lura], in which this root is wanting, through [Greek:  ludra], or rudra.  Kuhn confirms this transformation by the analogy between the Vedic god Rudra and the Greek Apollo, both of whom are armed with a bow.  Rudra, like Apollo, is a great physician; the former is called kapardin, from his mode of wearing his long hair, and vanku from his tortuous gait as the god of storms; to the latter the epithets of [Greek:  achers echomes] and [Greek:  loxias] are applied; the mouse was sacred to Rudro, and Apollo had the surname of Smintheus, from the mouse, [Greek:  Smintha], which was his symbol.

These wind and stringed instruments were not, in their primitive forms, at once used as an accompaniment to song.  Before such use was possible, there must have been considerable progress in the specification of language, and special songs must have been disintegrated from common speech, which was at first an inchoate song.  Possibly some rude instruments were invented for amusement or some other purpose before this specification had taken place.  At any rate the use of various instruments for accompaniment was preceded by gesticulation, or the spontaneous striking of some object which coincided with animated speech, or which accompanied it in sonorous cadences.

The rhythm which stimulated primitive men to speak in song, also impelled them to accompany it with gestures and movements of the body, and this was the origin of the dance, which, when the body moved in correspondence with cadenced utterances, was at first merely the accompaniment of song.  Tradition, modern ethnography, and the primitive habits of children bear witness to this fact.  In addition to the rhythmic motion of all parts of the body, there is the practice of spontaneously beating time with the hands and feet, which were doubtless the first instruments used by man as a musical accompaniment.  Hence, owing to the facility of, construction, there arose percussion instruments, which were at first made of stone or pieces of wood.  So that singing, dancing, accompaniment with the limbs or with some rudely fashioned object arose almost simultaneously, as soon as the process of specification had established a distinction between song and ordinary speech.  The first simple instruments which we have described only made the song, shout, war-dance, or religious ceremony more effective.

When chanted speech was formulated in a fixed order by means of rhythm and the modulations of the voice, it became verse, and the melody itself, as the simple expression of the song which had been cast into verse, or even into an inarticulate chant, was naturally evolved from it.  An artistic education is not needed in order to experience the pleasure of rhythmic order in the succession of sound, for a predisposition of the nervous system will suffice.  Savages, children, and even animals are sensible of rhythm, which is the