288 Michael Spitzer conceptual, there is a ‘metaphorical mapping’ from the primitive to the social. I will argue that something similar happens when we hear Fear in Schubert. Now to the music. I propose that metaphorical emotion happens in the ‘Un nished’ Symphony at four levels, increasing in complexity: (1) evolutionary ‘elaboration’; (2) persona theory; (3) hermeneutic; and (4), ecological.1. Evolutionary ‘elaboration’Bar 63 of the rst movement contains the biggest shock in the work (see ex. 1).Example 1 After the second subject dies down from a pianissimo into a bar of silence, the full orchestra comes back in with a shocking ffz C minor chord. Now, an aspect of fear is engendered at a primitive level by the sheer surprise of the event. Presumably, this is the kind of shock picked up by the amygdala, in evolutionary terms the oldest part of the brain, associated with fear. However, to appreciate that this shock in-volves a tonal non sequitur – a shift from V of G major to a minor IV chord – re-quires far more sophisticated stylistic knowledge: the kind of knowledge associated with the ‘social’ emotions of the Neo-Cortex. Indeed, insofar as harmonic syntax comprises a social ‘language’, one could see the harmonic dimension of this event as an evolutionary elaboration of the primitive underlying shock. In Oatley’s terms, a primitive emotion has been elaborated into a social emotion. I propose interpreting this process as a metaphorical mapping from the primitive to the social. Crucially, these two levels – the primitive and the social – co-exist in the same musical space, just as primitive and modern parts of the human brain co-exist.