Metaphor, Emotion, and Music Analysis 287 the archaeological metaphor of the city, with the oldest layers being the deepest. Ac-cording to Freud,Suppose that Rome is not a human habitation but a psychical entity with a similarly long and copious past – an entity, that is to say, in which nothing that has once come into existence will have passed away and all the earlier phases of development continue to exist alongside the latest one. (in Oatley 2004, p. 63)Emotions proper are held to have emerged not in the very oldest and inner-most layer – the ‘corpus striatum’ – which controls basic animal routines such as waking, patrolling, foraging, and mating, but in the central limbic system. Often called the ‘emotion brain’, the limbic system arose with the peculiarly social world of mam-mals unavailable to reptiles. It involves sociable behaviours such as mother/infant care-giving, vocal signaling, and play, and is the site of the basic emotions: happi -ness, anger, fear, desire, and sadness. A crucial feature highlighted by the ‘city meta-phor’ is that the more intellectual neocortex – the third and newest layer, which de-veloped over the six million years in our evolution from the apes – does not super-sede these two older layers. On the contrary, ‘as with the organization of cities,earlier forms and developments have continued, and provided for subsequent de-velopments and elaborations’ (Oatley, p. 67). In particular, the neocortex elaborates the sociality of the limbic emotions. According to Oatley’s analogy, ‘just as the wheel of a modern jet-liner is much elaborated compared with the wheel of the original ox-cart’, the sophisticated and expanded modes of modern emotions such as ro-mantic love have a basis which is several million years old (p. 69). This notion of the layers persisting through each other helps us understand the perceived permeability of music’s emotional spaces. The notorious big bang in the slow movement of Haydn’s ‘Surprise’ Symphony is a construct of abstract syntactic patterning, and hence of neocortical sophistication. At the same time, we finch because of our an-cient brain-stem refex, a primitive reaction towards sudden noises. The primeval shock is not superseded or covered-over but co-opted as a basis on which to hear the modern surprise. It is one thing to ascribe these two processes to distinct mech-anisms originating at widely spaced-out evolutionary epochs; it is quite another to claim that they are hermetically encapsulated from each other in musical experi-ence.Oatley charts the shift from ancient to modern emotions essentially as a change from emotion as goal-driven (shared by animals) to emotion as social (evinced by some animals, but quintessentially human). Thus Happiness was originally associ-ated with goal ful llment, and later became a symptom of social cooperation. Sad-ness, once an emotion of goal loss, is now linked to loss of relationship. Likewise, the primitive fear of danger was transformed into a fear of social rejection. Import-antly, the social emotions are structured according to the template of the primitive emotions. Using the terms of Lakoff & Johnson’s theory of metaphor (see Spitzer 2004), which traces a trajectory from the physical and embodied to the abstract and