Index Vol 1 Copy

Total Page:16

File Type:pdf, Size:1020Kb

Index Vol 1 Copy Alphabetical Index of Tunes, Volume 1 Aith Rant (Jig), 61 Queen of Elfan’s Nurse, The, 18 Cattle of Colin, 20 Sea Maiden, The, 88 Clerk Colvill (And the Mermaid), 76 Seal-Woman’s Croon, The, 94 Dark Fairy Rath, The, 22 Skye Water-Kelpie’s Lullaby, 96 Elfin Knight (Blaw Ye Winds), The, 46 Song of the Pooka, The, 66 Elfin Knight (Let Ev’ry Rose Be Merry), The, Sylph, The, 74 48 Tam Lin (Two Traditional Versions), 28 Elfin Lord, The, 50 Tam Lin (Lord Robinson’s Only Child), 32 Fairies Taught Me This, The (Slip Jig), 62 Tam Lin (Margaret Stood in Her High Fairy, The (Jig), 69 Chamber), 34 Fairy Boy, The, 6 Tam Lin (Young Tambling), 38 Fairy Boy Air, The, 8 Tam Lin (New), 42 Fairy Cobbler, The (Jig), 70 Tamlin Reel, The, 41 Fairy Dance, The (Reel), 71 Thomas the Rhymer 44 Fairy King’s Courtship, The, 52 Vallafield Jig, 68 Fairy Love Song, The, 54 Water Kelpie, The, 98 Fairy Lullaby, 10 Fairy Music, 63 Fairy Nurse, The, 14 Fairy Plaint, A, 24 Fairy Prince, The (Slip Jig), 72 Fairy Woman of Locha Lein, The (Sí Bhean Locha Léin), 60 Fiddler Round the Fairy Tree, The, 73 Forsaken Mermaid, The, 78 Great Silkie, The, 90 Grey Silkie of Sule Skerry, The, 92 Highland Fairy Lullaby, 16 Irish Fairy Lullaby, 12 King Orfeo, 26 Last Fairy, The, 4 Lure of the Fairy Hill, The, 56 Mermaid, The 80 Mermaid (One Night as I Lay on My Bed), 82 Mermaid’s Bridal March, The (Slip Jig), 83 Mermaid’s Croon, The, 84 Mermaid’s Song, The, 86 My Lagan Love (The Fairy Mistress), 58 Ned Pugh’s Farewell 64 North of the Walls of Voe (Reel), 65 Alphabetical Index of Tunes, Volume 2 Allison Gross, 74 Sweet William’s Ghost, 52 Berry Dhone, 76 Two Magicians, The, 92 Berry Dhone (Alternate Version), 78 Unquiet Grave, The, 62 Binnorie (Two Sisters), 42 Wandering Spirit (Slip Jig), 57 Broomfield Wager, The, 90 William and Margaret, 56 Chanty That Beguiled the Witch, The, 70 Willy’s Lady 80 Deirdre’s Lamentation, 4 Witchery Cantrips, 64 Demon Lover, The, 38 Witchery Croon, 66 Fair Margaret and Sweet William, 54 Witchery Fate Song, The, 68 Fairies’ Hornpipe, The, 22 Witchery Graces, 67 Fairies’ Revels, The (Jig), 23 Witchery Milking Croon, The, 70 Fairies’ Well, The (Waltz), 24 Witches’ Hill, The (Reel), 95 Fairy Hurlers, The (Reel), 25 Witches’ Reel, The, 74 Fairy Queen, The, 16 Fairy Queen, The (Hornpipe), 26 Fairy Rath, The (Slip Jig), 13 Fairy Rath of Bruff, The, 14 Fairyland Waltz, The, 27 False Knight and the Wee Boy, The, 36 Grey Cock (The Lover’s Ghost), The 46 Grey Cock (Saw Your My Father), The 48 House Carpenter (Two Versions), The, 40 Kemp Owyne, 88 King of the Fairies (Hornpipe), 28 Knight’s Ghost, The, 58 Lady Isobel and the Elf Knight, 30 Lady of the Lake, The (Jig), 20 Laidley Worm, The, 82 Lancashire Witches, The (Slip Jig), 87 Leprechaun, The, 21 Lilting Banshee, The (Jig), 94 Lover’s Ghost, The (The Cock’s Crow), 44 Merry Pranks of Robin Goodfellow, The, 18 Mountain of the Women, The, 10 Outlandish Knight, The, 32 Queen of the Fairies, The (Hornpipe), 29 Reynardine, 34 She Moved Through the Fair, 44 Si Bheag, Si Mhor, 8 Song of Fionnuala, The, 6 Suffolk Miracle, The, 60 .
Recommended publications
  • INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, Day Department, 2016) Assignments for Self-Study (25 Points)
    The elective discipline «INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, day department, 2016) Assignments for Self-Study (25 points) Task: Select one British folk ballad from the list below, write your name, perform your individual scientific research paper in writing according to the given scheme and hand your work in to the teacher: Titles of British Folk Ballads Students’ Surnames 1. № 58: “Sir Patrick Spens” 2. № 13: “Edward” 3. № 84: “Bonny Barbara Allen” 4. № 12: “Lord Randal” 5. № 169:“Johnie Armstrong” 6. № 243: “James Harris” / “The Daemon Lover” 7. № 173: “Mary Hamilton” 8. № 94: “Young Waters” 9. № 73:“Lord Thomas and Annet” 10. № 95:“The Maid Freed from Gallows” 11. № 162: “The Hunting of the Cheviot” 12. № 157 “Gude Wallace” 13. № 161: “The Battle of Otterburn” 14. № 54: “The Cherry-Tree Carol” 15. № 55: “The Carnal and the Crane” 16. № 65: “Lady Maisry” 17. № 77: “Sweet William's Ghost” 18. № 185: “Dick o the Cow” 19. № 186: “Kinmont Willie” 20. № 187: “Jock o the Side” 21. №192: “The Lochmaben Harper” 22. № 210: “Bonnie James Campbell” 23. № 37 “Thomas The Rhymer” 24. № 178: “Captain Car, or, Edom o Gordon” 25. № 275: “Get Up and Bar the Door” 26. № 278: “The Farmer's Curst Wife” 27. № 279: “The Jolly Beggar” 28. № 167: “Sir Andrew Barton” 29. № 286: “The Sweet Trinity” / “The Golden Vanity” 30. № 1: “Riddles Wisely Expounded” 31. № 31: “The Marriage of Sir Gawain” 32. № 154: “A True Tale of Robin Hood” N.B. You can find the text of the selected British folk ballad in the five-volume edition “The English and Scottish Popular Ballads: five volumes / [edited by Francis James Child].
    [Show full text]
  • 01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen
    |--Abigail Washburn | |--City of Refuge | | |--01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen | | |--04 Chains | | |--05 Ballad of Treason | | |--06 Last Train | | |--07 Burn Thru | | |--08 Corner Girl | | |--09 Dreams Of Nectar | | |--10 Divine Bell | | |--11 Bright Morning Stars | | |--cover | | `--folder | |--Daytrotter Studio | | |--01 City of Refuge | | |--02 Taiyang Chulai | | |--03 Bring Me My Queen | | |--04 Chains | | |--06 What Are They Doing | | `--07 Keys to the Kingdom | |--Live at Ancramdale | | |--01 Main Stageam Set | | |--02 Intro | | |--03 Fall On My Knees | | |--04 Coffee’s Cold | | |--05 Eve Stole The Apple | | |--06 Red & Blazey | | |--07 Journey Home | | |--08 Key To The Kingdom | | |--09 Sometime | | |--10 Abigail talks about the trip to Tibet | | |--11 Song Of The Traveling Daughter | | |--12 Crowd _ Band Intros | | |--13 The Sparrow Watches Over Me | | |--14 Outro | | |--15 Master's Workshop Stage pm Set | | |--16 Tuning, Intro | | |--17 Track 17 of 24 | | |--18 Story about Learning Chinese | | |--19 The Lost Lamb | | |--20 Story About Chinese Reality TV Show | | |--21 Deep In The Night | | |--22 Q & A | | |--23 We’re Happy Working Under The Sun | | |--24 Story About Trip To China | | |--index | | `--washburn2006-07-15 | |--Live at Ballard | | |--01 Introduction | | |--02 Red And Blazing | | |--03 Eve Stole The Apple | | |--04 Free Internet | | |--05 Backstep Cindy_Purple Bamboo | | |--06 Intro. To The Lost Lamb | | |--07 The Lost Lamb | | |--08 Fall On My Knees | | |--Aw2005-10-09 | | `--Index
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang.
    [Show full text]
  • Gender Representations in “The Ballad of Tam Lin”
    International Journal of Culture and History, Vol. 3, No. 3, September 2017 Gender Representations in “The Ballad of Tam Lin” Evgeniia Ermakova and Sabina Likhareva etc. It is due to being rooted in the national mentality that Abstract—The present paper addresses a highly relevant gender representations are so fixed in the cultural memory of issue of gender representation in literature that generates much the nation. academic interest as well as practical implications. The material for analysis is the text of the medieval ballad “Tam Lin” as published in the “Child Ballads”. Investigation methodology includes semantic, linguocultural, sociocultural and literary II. MATERIAL AND METHODOLOGY analysis. The findings have been categorized to show how a man As well as myths and fairy-tales, ballads, in spite of and a woman are perceived and portrayed in the English belonging to a plot-driven genre, represent complex culture. The paper would be of interest for scholars and multilevel structure full of implicit cultural senses. The practitioners dealing with gender issues, English and culture studies. material of the present study is comprised by text version A (Robert Burns’ version) of “The Ballad of Tam Lin”, taken Index Terms—Culture, gender, representation, semantics. from “The English and Scottish Popular Ballads, 1882-1898” edited by F. J. Child, otherwise known as “Child Ballads” [4], although the first mention of the plot dates back to as early as I. INTRODUCTION 1549. It can be addressed as a monument of both English and Ballads are poetical narratives frequently having medieval Scottish culture; while the setting, characters and main plot legendary background and performed to music.
    [Show full text]
  • The History of Scotland from the Accession of Alexander III. to The
    UNIVERSITY OF CALIFORNIA AT LOS ANGELES THE GIFT OF MAY TREAT MORRISON IN MEMORY OF ALEXANDER F MORRISON THE A 1C MEMORIAL LIBRARY HISTORY OF THE HISTORY OF SCOTLAND, ACCESSION OF ALEXANDEB III. TO THE UNION. BY PATRICK FRASER TYTLER, ** F.RS.E. AND F.A.S. NEW EDITION. IN TEN VOLUMES. VOL. X. EDINBURGH: WILLIAM P. NIMMO. 1866. MUEKAY AND OIBB, PUINTERS. EDI.VBUKOII V.IC INDE X. ABBOT of Unreason, vi. 64 ABELARD, ii. 291 ABERBROTHOC, i. 318, 321 ; ii. 205, 207, 230 Henry, Abbot of, i. 99, Abbots of, ii. 206 Abbey of, ii. 205. See ARBROATH ABERCORN. Edward I. of England proceeds to, i. 147 Castle of, taken by James II. iv. 102, 104. Mentioned, 105 ABERCROMBY, author of the Martial Achievements, noticed, i. 125 n.; iv. 278 David, Dean of Aberdeen, iv. 264 ABERDEEN. Edward I. of England passes through, i. 105. Noticed, 174. Part of Wallace's body sent to, 186. Mentioned, 208; ii. Ill, n. iii. 148 iv. 206, 233 234, 237, 238, 248, 295, 364 ; 64, ; 159, v. vi. vii. 267 ; 9, 25, 30, 174, 219, 241 ; 175, 263, 265, 266 ; 278, viii. 339 ; 12 n.; ix. 14, 25, 26, 39, 75, 146, 152, 153, 154, 167, 233-234 iii. Bishop of, noticed, 76 ; iv. 137, 178, 206, 261, 290 ; v. 115, n. n. vi. 145, 149, 153, 155, 156, 167, 204, 205 242 ; 207 Thomas, bishop of, iv. 130 Provost of, vii. 164 n. Burgesses of, hanged by order of Wallace, i. 127 Breviary of, v. 36 n. Castle of, taken by Bruce, i.
    [Show full text]
  • On Fairy Stories by J
    On Fairy Stories By J. R. R. Tolkien On Fairy-stories This essay was originally intended to be one of the Andrew Lang lectures at St. Andrews, and it was, in abbreviated form, delivered there in 1938. To be invited to lecture in St. Andrews is a high compliment to any man; to be allowed to speak about fairy-stories is (for an Englishman in Scotland) a perilous honor. I felt like a conjuror who finds himself, by mistake, called upon to give a display of magic before the court of an elf-king. After producing his rabbit, such a clumsy performer may consider himself lucky, if he is allowed to go home in proper shape, or indeed to go home at all. There are dungeons in fairyland for the overbold. And overbold I fear I may be accounted, because I am a reader and lover of fairy-stories, but not a student of them, as Andrew Lang was. I have not the learning, nor the still more necessary wisdom, which the subject demands. The land of fairy-story is wide and deep and high, and is filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril; both sorrow and joy as sharp as swords. In that land a man may (perhaps) count himself fortunate to have wandered, but its very riches and strangeness make dumb the traveller who would report it. And while he is there it is dangerous for him to ask too many questions, lest the gates shut and the keys be lost.
    [Show full text]
  • Ancient Ballads and Songs of the North of Scotland, Hitherto
    1 ifl ANCIENT OF THE NOETH OF SCOTLAND, HITHERTO UNPUBLISHED. explanatory notes, By peter BUCHAN, COKRESFONDING ME3IBER OF THE SOCIETY OF ANTIQUARIES OF SCOTLAND. " The ancient spirit is not dead,— " Old times, wc trust, are living here.' VOL. ir. EDINBURGH: PRINTED 1011 W. & D. LAING, ANI> J, STEVENSON ; A. BllOWN & CO. ABERDEEN ; J. WYLIE, AND ROBERTSON AND ATKINSON, GLASGOW; D. MORISON & CO. PERTH ; AND J. DARLING, LONDON. MDCCCXXVIII. j^^nterct! in -Stationers i^all*] TK CONTENTS V.'Z OF THK SECOND VOLUME. Ballads. N'olcs. The Birth of Robin Hood Page 1 305 /King Malcolm and Sir Colvin 6 30G Young Allan - - - - 11 ib. Sir Niel and Mac Van 16 307 Lord John's Murder 20 ib. The Duke of Athole's Nurse 23 ib. The Laird of Southland's Courtship 27 308 Burd Helen ... 30 ib. Lord Livingston ... 39 ib. Fause Sir John and IMay Colvin 45 309 Willie's Lyke Wake 61 310 JSTathaniel Gordon - - 54 ib. Lord Lundy ... 57 312 Jock and Tarn Gordon 61 ib. The Bonny Lass o' Englessie's Dance 63 313 Geordie Downie . - 65 314 Lord Aboyne . 66 ib. Young Hastings ... 67 315 Reedisdale and Wise William 70 ib. Young Bearwell ... 75 316 Kemp Owyne . 78 ib. Earl Richard, the Queen's Brother 81 318 Earl Lithgow .... 91 ib. Bonny Lizie Lindsay ... 102 ib. The Baron turned Ploughman 109 319 Donald M'Queen's Flight wi' Lizie Menzie 117 ib. The Millar's Son - - - - 120 320 The Last Guid-night ... 127 ib. The Bonny Bows o' London 128 ib. The Abashed Knight 131 321 Lord Salton and Auchanachie 133 ib.
    [Show full text]
  • Changelings-High-School-Edition.Pdf
    CHANGELINGS: HIGH SCHOOL PERFORMANCE EDITION Written by Reina Hardy Reinahardy.com 312-330-3031 [email protected] For whatsoever from one place doth fall, Is with the tide unto another brought: For there is nothing lost, that may be found, if sought. -The Fairy Queen, Edmond Spenser Forget about the baby. -Labyrinth, David Bowie Note: This version of the script takes place in Austin, TX, but could be adapted to any city with at least one university. ii. Casting Information Humans, in order of appearance The Young Mother- female Luther Powers- male, early 20s. Has a habit of holding eye contact with others for entirely too long. Megan Powers- His sister. Female, early 20s. Knows she is pretty. Timothy Stamp- Her fiance. Male, early 20s. Magus Kemp- any gender, but male is preferred. A grandiose and talkative wizard. Angus Powers- male, 30s-40s. A less than ideal father from the Elizabethan era. Fairies, in order of appearance (note, with the exception of the Wicked Child and Pandora, the gender casting for fairies is quite flexible. Adjust pronouns as needed.) The Wicked Child/Elizabeth- female, appears around 13. A whimsical, dangerous fairy princess with a habit of stealing babies. The Whiteling- any gender, sort of a mother of pearl gargoyle thing. The Mysterious Figure/Pandora- female. An immensely powerful and scary fairy queen. The Luck Angel- any gender. A very kind and pretty fairy. Luwis- any gender. A fairy janitor. Grunts. Bantam Beth- a little girl who is also a fierce fighter. Bantam- the same person as Bantam Beth, but a large burly dude.
    [Show full text]
  • A BOOK of OLD BALLADS Selected and with an Introduction
    A BOOK OF OLD BALLADS Selected and with an Introduction by BEVERLEY NICHOLS ACKNOWLEDGMENTS The thanks and acknowledgments of the publishers are due to the following: to Messrs. B. Feldman & Co., 125 Shaftesbury Avenue, W.C. 2, for "It's a Long Way to Tipperary"; to Mr. Rudyard Kipling and Messrs. Methuen & Co. for "Mandalay" from _Barrack Room Ballads_; and to the Executors of the late Oscar Wilde for "The Ballad of Reading Gaol." "The Earl of Mar's Daughter", "The Wife of Usher's Well", "The Three Ravens", "Thomas the Rhymer", "Clerk Colvill", "Young Beichen", "May Collin", and "Hynd Horn" have been reprinted from _English and Scottish Ballads_, edited by Mr. G. L. Kittredge and the late Mr. F. J. Child, and published by the Houghton Mifflin Company. The remainder of the ballads in this book, with the exception of "John Brown's Body", are from _Percy's Reliques_, Volumes I and II. CONTENTS FOREWORD MANDALAY THE FROLICKSOME DUKE THE KNIGHT AND SHEPHERD'S DAUGHTER KING ESTMERE KING JOHN AND THE ABBOT OF CANTERBURY BARBARA ALLEN'S CRUELTY FAIR ROSAMOND ROBIN HOOD AND GUY OF GISBORNE THE BOY AND THE MANTLE THE HEIR OF LINNE KING COPHETUA AND THE BEGGAR MAID SIR ANDREW BARTON MAY COLLIN THE BLIND BEGGAR'S DAUGHTER OF BEDNALL GREEN THOMAS THE RHYMER YOUNG BEICHAN BRAVE LORD WILLOUGHBEY THE SPANISH LADY'S LOVE THE FRIAR OF ORDERS GRAY CLERK COLVILL SIR ALDINGAR EDOM O' GORDON CHEVY CHACE SIR LANCELOT DU LAKE GIL MORRICE THE CHILD OF ELLE CHILD WATERS KING EDWARD IV AND THE TANNER OF TAMWORTH SIR PATRICK SPENS THE EARL OF MAR'S DAUGHTER EDWARD,
    [Show full text]
  • Folklore, Folk Belief, and the Selkie
    Supernatural Beings in the Far North: Folklore, Folk Belief, and The Selkie NANCY CASSELL MCENTIRE Within the world of folklore, stories of people turning into animals are well known. Either by accident or by design, a person may become a malevolent wolf, a swan, a helpful bird, a magic seal, a dog, a cat. Sometimes these stories are presented as folktales, part of a fictitious, make-believe world. Other times they are presented as legends, grounded in a narrator’s credibility and connected to everyday life. They may be sung as ballads or their core truths may be implied in a familiar proverb. They also affect human behavior as folk belief. Occasionally, sympathetic magic is involved: the human imagination infers a permanent and contiguous relationship between items that once were either in contact or were parts of a whole that later became separated or transformed. A narrative found in Ireland, England, and North America depicts a man who spends a night in a haunted mill, where he struggles with a cat and cuts off the cat’s paw. In the morning, the wife of a local villager has lost her hand (Baughman: 99; Disenchantment / Motif no. D702.1.1). France, French-speaking Canada and French-speaking Louisiana have stories of the loup-garou, a shape- shifter who is a person trapped in the body of an animal. One might suspect that he or she has encountered a loup-garou if that the animal is unusually annoying, provoking anger and hostile action. One penetrating cut will break the spell that has kept it trapped in animal form.
    [Show full text]
  • Electric Scotland's Weekly Newsletter for December 5Th, 2014
    Electric Scotland's Weekly Newsletter for December 5th, 2014 To see what we've added to the Electric Scotland site view our What's New page at: http://www.electricscotland.com/whatsnew.htm To see what we've added to the Electric Canadian site view our What's New page at: http://www.electriccanadian.com/whatsnew.htm For the latest news from Scotland see our ScotNews feed at: http://www.electricscotland.com/ Electric Scotland News YouTube I got an email in from YouTube saying that I have received 25,952 views of all my videos I've posted over the years and they provided a fast way to find them at https://www.youtube.com/c/AlastairMcIntyre. I might just say that most of them are either videos about the web site where I'm just talking about something to do with the site or videos I've taken when attending various events. However I do sometimes do a video where I talk about some matter that concerns me such as my recent finding that tourism in Canada had seen a steady decline in foreign arrivals over the past 11 years. I did some research on this and as a result I made two videos telling of my research and what I thought was the problem. I also sometimes do a video to back up an issue where I am having problems in getting to talk to people. For example I was mighty fed up with not being able to talk to anyone at the Scottish Chamber of Commerce where they kept saying someone would phone me back but they never would.
    [Show full text]
  • A Collection of Ballads
    A COLLECTION OF BALLADS INTRODUCTION When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with European Märchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis— “I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks.
    [Show full text]