[235]. Psychology of the Emotions, pp. 335 f.
[236]. In an article so entitled, in Mind, XVI. (1891), 498 ff., and N. S., I. (1892), 325 ff.
[237]. The tendency to use hands as well as feet in keeping rhythm is illustrated by the Ba-Ronga of Delagoa Bay (Junod, Les Chantes et les Contes des Ba-Ronga, Lausanne, 1897), where the use of sticks may help to explain Donovan’s “rhythmic beating.” With these people “tout s’y chante et ... tous ou presque tous les chants s’y dansent” (p. 21). Refrains are sung “ten, twenty, fifty times in succession”; the songs have two elements, the solo and the refrain en tutti. A circle is formed, the men holding sticks in their hands; the solo singer leaps into the middle and sings a few words; then all the dancers sing a refrain, raising and dropping their sticks in cadence, though the rhythm is primarily given by their stamping feet. Then the soloist again, only slightly varying his theme; and again the long refrain (pp. 32 f.). The war-songs are almost entirely refrain, sung by all the warriors as they dance, “antique et grandiose choral,” says Junod.
[238]. From Lyre to Muse, a History of the Aboriginal Union of Music and Poetry, London, 1890; Chap. V., “Fusion of Tones and Words.”
[239]. “It is said that if it is known that anybody in particular composed a song, the people in some of these places will not sing it,” Ibid., pp. 138 f. For this vexed question, see below, chapter on Communal Poetry.
[240]. Of course Horace (IV. ii. 10 ff.) is thinking of Pindar’s “new” compounds and fresh expressions; but the quotation agrees as well with the history of the dithyrambic poem.
[241]. “Arbeit und Rhythmus,” reprinted from the Abhandlungen d. kgl. sächsischen Gesellschaft d. Wissenschaften, philol. histor. Classe, XVII. 5, Leipzig, 1896. According to Groos, Spiele der Menschen, pp. 57 ff., some of these statements have been modified. In the second edition of the Entstehung der Volkswirthschaft, pp. 32 f., a book which the present writer could not consult, Bücher concedes the priority of play, and sees in it the starting-point of labour. This, however, does not change the validity of Bücher’s main argument for the connection of labour and rhythm, so far as they concern the beginnings of poetry.
[242]. A. W. Schlegel here and there hints at this origin of rhythm in labour; so does Sulzer. See note above, p. [101]. See also the Abbé Batteux, “Sur les Nombres Poëtiques et Oratoires,” Mém. Acad. Inscript., XXXV. 415: “le marteau du forgeron tombe en cadence, la faulx du moissonneur va et revient avec nombre ... le rhythme soutient nos forces dans les travaux pénibles.”
[243]. Bücher, p. 101.
[244]. Ibid., p. 52.