instinctive impulse to 'play with fire' which repels other animals. Style and finish may vary, and do vary widely from one province of culture to another; but in their last mechanical analysis, a spade is a spade all the world over, and a celt a celt.

It was the service of the late General Pitt-Rivers in this country, and of Klemm more laboriously abroad, to establish this aspect of the 'Evolution of Culture' beyond controversy: as it was the work of Boucher de Perthes, and of Sir John Evans and Sir John Lubbock to proceed in the reverse direction, from a criterion of utility to a hypothesis of design, and the conclusion that certain stones, of reputedly prehuman antiquity, must be the work of human hands, geared to human brains like ours. Tylor's wider range of observation, conspicuously supplemented by other work of Lubbock, embraced all human activities in one formula of comparison, which is indeed as old as Thucydides.[4] We can infer, that is, something about early stages of an advanced culture from the present-day practices of savagery.

Yet, across this 'primitive culture', to use a phrase which has become classical, so reasonable, and therewith so full of uniformities, in its intimate interplay of hand and tongue with brain, patches of shadow fall; a chaos of such incredible absurdities and (in the widest sense) of 'barbarities', that the charitable hypothesis that here and there man has lost his way and just stopped thinking hardly seems adequate to account for things, and writers like Lévy-Bruhl are provoked to the pessimist guess that there can be a savage logic which is different from ours and yet is 'logical' in some coherent sense; which stets verneint the conclusions, and even the axioms, which are clear as day to us; and is a 'knowledge of evil' side by side with the knowledge of good.