10.04.2013 Views

The ocean of story, being C.H. Tawney's translation of Somadeva's ...

The ocean of story, being C.H. Tawney's translation of Somadeva's ...

The ocean of story, being C.H. Tawney's translation of Somadeva's ...

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

xvi<br />

THE OCEAN OF STORY<br />

and West. I am inclined, too, to agree with Mr Penzer 1<br />

the acquisition <strong>of</strong> the " Magical Articles " by gift<br />

that<br />

is character-<br />

istically Western and their acquisition by fraud Oriental,<br />

and again should explain the existence <strong>of</strong> this apparently<br />

original difference by supposing that the idea <strong>of</strong> the " Magical<br />

Articles " was independently invented both in the East and<br />

in the West.<br />

My main contention then is that a <strong>story</strong> may be regarded<br />

as a kind <strong>of</strong> composite pattern <strong>of</strong> coloured bricks. Individual<br />

bricks considered by themselves are almost worthless for our<br />

particular purpose <strong>of</strong> tracing the hi<strong>story</strong> <strong>of</strong> the design. <strong>The</strong><br />

whole point is the relation <strong>of</strong> the bricks to each other, and in<br />

our analysis the smallest effective unit must be an integral<br />

piece <strong>of</strong> the pattern.<br />

I pass next to another instance <strong>of</strong> what seems to me to be<br />

faulty argument. We will suppose that we have before us<br />

a <strong>story</strong> <strong>of</strong> which the design may be analysed into the parts<br />

A, B, C and D, each <strong>of</strong> which is sufficiently distinctive to<br />

satisfy our requirements. We then succeed in finding separate<br />

analogues to some or even to all <strong>of</strong> A B C and D in the<br />

stories <strong>of</strong> another area, but in every case they are set in a<br />

different context. We are surely not then entitled to say<br />

that the <strong>story</strong> A + B + C + D belongs to both areas. Thus<br />

even if Cosquin is able to quote parallels to separate incidents<br />

in <strong>The</strong> Herdsman as occurring in different contexts in Avar<br />

or Indian stories, we shall not conclude that the <strong>story</strong> is<br />

necessarily Oriental in origin. Although the grounds upon<br />

which Hartland claims a Celtic origin for this particular<br />

variety <strong>of</strong> the group represented by Grimm, Nos. 60, 85, 123,<br />

be doubted that<br />

136, appear to be insufficient, it can hardly<br />

its 2<br />

distribution is definitely European.<br />

That nearly all the methods <strong>of</strong> argument which we have<br />

branded as vicious have been applied to the study<br />

<strong>of</strong> the relation<br />

<strong>of</strong> European folk-tales to classical mythology may be<br />

1 See Vol. I, pp. 25-29 ; and Journal <strong>of</strong> the Gypsy-Lore Society, 3rd ser.,<br />

iii, p. 151.<br />

2<br />

Cosquin, Contes Pop. de Lorraine, No. 43, vol. ii, pp. 93-97 ; Bolte und<br />

Polivka, op. cit., iii, p. 113w4 ; Hartland, Legend <strong>of</strong> Perseus, iii, pp. 3-10; and<br />

my note in Journal <strong>of</strong> the Gypsy-Lore Society, 3rd ser., iv, pp. 157-158.

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!