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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Science Of Fairy Tales: An Inquiry Into Fairy Mythology; Contemporary Science Series; Half-title: The Contemporary Science Series. Ed. By H. Ellis. [xi] Edwin Sidney Hartland Edwin Sidney Hartland W. Scott, 1891 Fiction; Fairy Tales, Folklore & Mythology; Fairy tales; Fiction / Fairy Tales, Folklore & Mythology; Folk-lore; Folklore; Social Science / Folklore & Mythology
The art of story-telling has been cultivated in all ages and among all nations of which we have any record; it is the outcome of an instinct implanted universally in the human mind. By means of a story the savage philosopher accounts for his own existence and that of all the phenomena which surround him. With a story the mothers of the wildest tribes awe their little ones into silence, or rouse them into delight. And the weary hunters beguile the long silence of a desert night with the mirth and wonders of a tale. The imagination is not less fruitful in the higher races; and, passing through forms sometimes more, sometimes less, serious, the art of story-telling unites with the kindred arts of dance and song to form the epic or the drama, or develops under the complex influences of modern life into the prose romance and the novel. These in their various ways are its ultimate expression; and the loftiest genius has found no fitter vehicle to convey its lessons of truth and beauty.But even in the most refined products of the imagination the same substances are found which compose the rudest. Something has, of course, been dropped in the process; and where we can examine the process stage by stage, we can discern the point whereat each successive portion has been purged away. But much has also been gained. To change the figure, it is like the continuous development of living things, amorphous at first, by and by shooting out into monstrous growths, unwieldy and half-organized, anon settling into compact and beautiful shapes of subtlest power and most divine suggestion. But the last state contains nothing more than was either obvious or latent in the first. Man's imagination, like every other known power, works by fixed laws, the existence and operation of which it is possible to trace; and it works upon the same material, -the external universe, the mental and moral constitution of man and his social relations. Hence, diverse as may seem at first sight the results among the cultured Europeans and the debased Hottentots, the philosophical Hindoos and the Red Indians of the Far West, they present, on a close examination, features absolutely identical. The outlines of a story-plot among savage races are wilder and more unconfined; they are often a vast unhidebound corpse, but one that bears no distant resemblance to forms we think more reasonable only because we find it difficult to let ourselves down to the level of savage ignorance, and to lay aside the data of thought which have been won for us by the painful efforts of civilization. The incidents, making all due allowance for these differences and those of climate and physical surroundings, are not merely alike; they are often indistinguishable. It cannot, of course, be expected that the characters of the actors in these stories will be drawn with skill, or indeed that any attention will be paid to them. Character-study is a late development. True: we ought not to overlook the fact that we have to do with barbarous ideals. In a rudimentary state of civilization the passions, like the arts, are distinguished not by subtlety and complexity, but by simplicity and violence of contrast. This may account to some extent for what seems to us repulsive, inconsistent or impossible. But we must above all things beware of crediting the story-teller with that degree of conscious art which is only possible in an advanced culture and under literary influences
Excerpt from The Science of Fairy Tales: An Inquiry Into Fairy Mythology A portion of the book incorporates the substance of some articles which I contributed to The Archaeological Review and folk-lore. But these have been to a considerable extent re-written; and it is hoped that in the process wider and more accurate generalizations have been attained. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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The chief object of this volume is to exhibit, in a manner acceptable to readers who are not specialists, the application of the principles and methods which guide investigations into popular traditions to a few of the most remarkable stories embodying the Fairy superstitions of the Celtic and Teutonic peoples. A gamekeeper from Ross-shire also testified to similar customs at his native place: the assemblies of the young to hear their elders repeat, on winter nights, the tales they had learned from their fathers before them, and the renown of the travelling tailor and shoemaker. When a stranger came to the village it was the signal for a general gathering at the house where he stayed, to listen to his tales. The goodman of the house usually began with some favourite tale, and the stranger was expected to do the rest. It was a common saying: "The first tale by the goodman, and tales to daylight by the guest." The minister, however, came to the village in 1830, and the schoolmaster soon followed, with the inevitable result of putting an end to these delightful times