DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0373
Literature, music, and dance
333
It would be erroneous to assume that the absence of survivals of
an earlier time can be explained as due to the permanence of con-
ditions, to a lack of historical change. Primitive culture is a product
of historical development no less than modern civilization. Mode
of life, customs, and beliefs of primitive tribes are not stable; but
the rate of change, unless disturbances from the outside occur, is
slower than among ourselves. What is lacking is the pronounced
social stratification of our times that brings it about that the various
groups represent, as it were, different periods of development. So
far as my knowledge goes we find the cultural, formal background
of the art of narrative of primitive people almost entirely deter-
mined by its present cultural state. The only exceptions are found
in periods of an unusually rapid change or of disintegration. How-
ever, in this case also a readjustment occurs. Thus the stories of
the modern negroes of Angola reflect the mixed culture of the
west African coast. In the cultural background of the narrative,
survivals do not play an important role, at least not under normal
conditions. The plot may be old and taken from foreign sources,
but in its adoption it undergoes radical changes.
These remarks relating to literature do not mean, of course, that
in other aspects of life ancient customs and beliefs may not persist
over long periods.
We have spoken so far of the structure of the elements of prose
tales and songs. Important characteristics are found also in the
manner of their composition. In the narratives of some people the
episodes are anecdotically short; among others the wish for a more
complex structure is felt. Often this is accomplished by the meagre
device of concentrating all the anecdotes around one personage.
In many cases the craftiness, strength, voracity or amorousness
of the hero gives a more or less definite character to the whole
cycle. The Raven tale of Alaska ■ consists entirely of unrelated
episodes. The only connecting element, besides the identity of the
hero, is the voracity of the Raven; but even this disappears in
many cases. Quite similar are the Coyote tales of the Plateaus,
333
It would be erroneous to assume that the absence of survivals of
an earlier time can be explained as due to the permanence of con-
ditions, to a lack of historical change. Primitive culture is a product
of historical development no less than modern civilization. Mode
of life, customs, and beliefs of primitive tribes are not stable; but
the rate of change, unless disturbances from the outside occur, is
slower than among ourselves. What is lacking is the pronounced
social stratification of our times that brings it about that the various
groups represent, as it were, different periods of development. So
far as my knowledge goes we find the cultural, formal background
of the art of narrative of primitive people almost entirely deter-
mined by its present cultural state. The only exceptions are found
in periods of an unusually rapid change or of disintegration. How-
ever, in this case also a readjustment occurs. Thus the stories of
the modern negroes of Angola reflect the mixed culture of the
west African coast. In the cultural background of the narrative,
survivals do not play an important role, at least not under normal
conditions. The plot may be old and taken from foreign sources,
but in its adoption it undergoes radical changes.
These remarks relating to literature do not mean, of course, that
in other aspects of life ancient customs and beliefs may not persist
over long periods.
We have spoken so far of the structure of the elements of prose
tales and songs. Important characteristics are found also in the
manner of their composition. In the narratives of some people the
episodes are anecdotically short; among others the wish for a more
complex structure is felt. Often this is accomplished by the meagre
device of concentrating all the anecdotes around one personage.
In many cases the craftiness, strength, voracity or amorousness
of the hero gives a more or less definite character to the whole
cycle. The Raven tale of Alaska ■ consists entirely of unrelated
episodes. The only connecting element, besides the identity of the
hero, is the voracity of the Raven; but even this disappears in
many cases. Quite similar are the Coyote tales of the Plateaus,