WALLACE SABINE FILE #144

Papers on Folk-Lore and Music by A. T. Sinclair "F 'f~. Wi>.li...CA..~· ~ )'-! #Vd;i tL t{ ~ ~ J... t.Lt..L~

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REPRINTED FROM THE JOURNAL OF AMERICAN FOLK-LORE VoL. XXI.- APRIL-SEPT., 1908.-No. LXXXI

t- . 206 :Journal of A merz"can Folk-Lore. Gypsy and Oriental Musical .Instruments. 207

sing for their bears to dance, "La, ri, rond~n" (rondin, "a club"), which This hasty general sketch is given as a brief introduction to a more the poor bear well understands. · particular consideration of the instruments separately. These leaders often find in the United States that the bear is the principal attraction, and leave their instrument with their families in the I. THE TZIMBAL. main Gypsy band, which they join at an appointed time and place. The Tzimbal, for the last fifty years at least, has been used almost Then there is a grand feast and picnic for two and three weeks. The exclusively by Gypsies, and can fairly be called a characteristic Gypsy different members assemble from all over the country, perhaps. Twenty instrument. In Hungary it is a "prima-donna" instrument, often years ago a secluded spot in the mountains near Nyack on the Hudson playing the melody as well as the first violin. At all times it has a most w~ a favorite rendezvous. At night the whole meadow and piece of important role, and plays an accompanying melody of its own as well as woods, so~e fourteen acres, was ablaze with their camp-fires. They a general accompaniment to the violin. The two little hammers move had a dancmg-platform; and the dark-skinned Rumanian beauties and over the many wires with such marvellous rapidity and dexterity as to stalwart rakle danced to their hearts' content to the sound of the fiddle take the place of several instruments in an ordinary orchestra. There ko~za, and bagpipe. Twelve or fifteen bears were chained to the neigh~ are no dampers for the strings, as on a pianoforte; therefore they keep bormg trees. All were dressed in their richest and most aaudy costumes vibrating. One chord runs into another, but the skill of the performer ':ith a profus~on of gold ornaments. Even the men wor~ large gold ear~ avoids all discord. The music is ringing, harmonious, and has a peculiar rmgs. Sometimes as many as forty or fifty large vans were there with a weird, fascinating effect on the hearer. It is also a prima-donna Gypsy hundred sleek, well-kept good horses. instrument in Rumania and the whole Balkan Peninsula. Last summer a similar band rendezvoused at Dedham, Mass. Two In Russia it is much used, but mostly by the wandering Gypsies. The wagon-~oads of th:se Gyp ies drove through Allston on their way to a settled Gypsies, who comprise the favorite Gypsy choruses, generally Somerville abattmr, where they bought four live sheep. These they have a guitar for accompaniment. They play it in Sweden, Norway, r?asted whole at a barbecue, at which they claimed two hundred Gyp­ Germany, Finland, Poland, Bohemia, Switzerland, Italy, all parts of Sies were present. For several weeks they were there, and the news­ Germany, Holland, Belgium, France, Spain, England. papers were filled with long accounts of their doings. One woman com­ For several centurie , and up to about a century ago, the Dulcimer, a plained to the police that her husband had stolen two hundred dollars similar stringed instrument, was popular, and was used in many of the from her. The police search d the camp, and in one wagon found fifty above-named countries as well as somewhat in America. To-day it is thousand dollars in gold coin. Everybody went out to see Gypsies who played by old people at Jewish weddings in many parts of Poland. These had so much money, and naturally they had their fortunes told. Two dulcimers are old instruments, generally showing signs of many repairs. colored children were working for the Gypsies. Some relative claimed The dulcimer i strung differently from the Gypsy tzimbal, and is con­ them. The police were called in, and a long account appeared in the sidered by instrument-makers as a different instrument. Still in one papers. Later on the same two children were still found with part of vital respect both are the same : the wires are struck by two hammers. the band near Providence, R. I., and another relative complained to the Our pianofortes have been developed from the dulcimer. police there. How quickly these wild Rumanian Gypsies learn the ad­ In Persia the tzimbal is the prima-donna instrument played by the vantages of newspaper advertising ! And at the barbecue were heard the leader of the Gypsy orchestra there, and is used almost exclusively by same Gypsy instruments and the same Gypsy music . Gypsies. In many parts of the South imilar bands often give shows and play In the Erzerum district of Armenia the common people often make a these same instru ments. The arne band uses only one or two of them, rude kind of tzimbal themselves, and play it, while everywhere in the but every instrument is occasionally seen. rest of Asiatic Turkey as well as in Egypt it is rare, and generally only Gypsies are much more common in most countries of Europe than in used by foreign Gypsies . America, and therefore also the instruments. They are the popular Except as above, no one now plays a tzimbal or dulcimer anywhere musicians in the Western Orient and Southeastern Europe, continually in the world where Gypsies are found. Occasionally they may be played as travelli~g back and forth over the whole region. This has been theca e curiosities or in theatres, and sometimes as children's toys. for many centuries. In an article on" Gypsy and Oriental Music" pub­ The Oliver Ditson Company, Boston, inform me that they have only lished in the January-March number in 1907, the relations of Gypsies one dulcimer in stock, and that they have not sold any for ten years. to the music of various countries was discussed. There is no call for them. They never had a tzimbal. Gypsy and Oriental Mus£cal Instruments. 209 208 J'ournal o.f A merz'can Folk-Lore. The Crusades, which cattered over western Europe so many products . There are histori c ~! records showing :hat the tzimbal has been played of Oriental civilization, probably brought to us also the ancestor of the m H.ung~ry by G yps1es for :nany centunes. "Mahillon' s. Catalogue" (of (oboe)" (p. 228). musical mstruments), vol. 1, p. 374, states that the tzimbal type is of hautbois This is a favorite Gypsy instrument in the East. Often I have heard quite recent origin in Western Europe, and is now very rare. On p. 8S it says, "It is only from the Orient that Europe, about the time of the Arabs speak of it almost as if peculiar to them. Still it is by no means Crusades, borrowed the instrument-type of the tzimbal, dulcimer, and confined to Gypsies there. One thing, however, should always be borne psaltery." in mind. Music is now, and from the earliest times has been, considered dishonorable as a public profession. The z~mr is a loud, piercing instru­ Before this period there is no record of these instruments a'3 existing in Europe, either in books or by pictorial representations of any kind. ment, hardly adapted for home use, and naturally is played most by public musicians, most of whom certainly are Gypsies. Indee~, the tzimbal seems ~o be later than the psaltery. There are repre­ sentatiOns of the psaltery m church porches, choirs, and some manu­ This same oboe is a very common Gypsy instrument all through South­ scripts earlier than any of the tzimbal type. The psaltery is picked; the eastern Europe, and is seldom used by others, except in military bands tzimbal struck with little hammers. and orchestras. It is a Gypsy instrument there, and indeed all over the During the Crusades, A. D. 1096 to 1291, millions of people were con­ world. tinually passing to and fro between all parts of Europe and the Orient. It is to be noticed that it is now one of the most popular and common instruments among the country people in central and southern Italy, They were of all cl~ ses, - rich and poor; nobles, the educated, and the ignorant; the good, the bad, and degraded. There were crowds of camp­ where the largest size is called a piffero; a smaller, ciaramella; and a still followers, men and women, to minister to the wants, the necessities, the smaller, and shriller, a pippizzera. pleasures, of the motley crowds. At that time it is known from history "The jew's-harp [Mahillon, vol. i, p. 102] is very ancient, and spread that there were thousands of Gypsies in Persia, one of whose principal all over Asia, where it originated. In our days it is not less known in trades was Music and the Dance. There must have been thousands in Europe." Curiously, the Gypsies in Egypt make and sell a great many Asiatic Turkey, and some in Europe. Would such people not naturally jew's-harps. They also do so elsewhere, as in central and southern Italv. follow along with these Crusader bands? Somebody at that period with Here, however, it is now made and used by everybody as perhaps o~e the Crusaders brought back several types of musical instruments into of th~ most common instruments among the peasantry (called spdssa Europe. pensieri). In Mahillon we read, "It is generally supposed that the lute was It is not generally known how recently most instruments have been introduced into Europe at the time of the Crusades" (vol. i, p. 479); introduced in our military bands. ln the seventeenth century the infantry "The psaltery was imported into the Occident at the epoch of the Cru­ bands had only fifes and drums; and the cavalry, trumpets and kettle­ sades" (p. 82); "Neither the Greeks nor Romans had any instruments drums. It was only about the middle of the eighteenth century that the of the lute, guitar, or mandolin type" (p. 83) ; "The vertical flute is other instruments began to be used, and many of these were copied from unknown in our countries, but is popular in Persia and Arabia" (p. 48). the East then. (See Mahillon, vol. ii, p. 188.) I find it is perhaps the most common and popular instrument among These citations from as good authority as exists show that the tzimbal the peasants. of Bessarabia, Volhynia, and some other neighboring dis­ probably came from Asia at the time of, or since, the Crusades. It is a tricts. They make it themselves out of reeds, and some perform most fact that the violin was developed from the Moorish r~bab; the mandolin beautifully on it. Indeed, a Russian storekeeper was so impressed by this and ,guitar, from the Arab 'lid (l.)r); the psaltery, from the kandn music, he told me, "They played it so sweetly as to make that store qanun (\.:J~u), -all brought into Spain by the Arabs in the eighth cen­ counter weep," pointing to it. It is also there a favorite Gypsy instru­ tury; but it seems probable that all these instruments also entered Europe ment. Who would be more likely to introduce it than the Gypsies? It directly from the East about the period of the Crusades. Many things is a very difficult instrument to learn to play. The Kurdish shepherds, point to this conclusion. There is no evidence that the tzimbal came who use it a good deal, learn first on a kind of flageolet. In Persian it is through Spain. It apparently came the other way. All monumental and called nai, ne (~u ~). pictorial representations of instruments in Western Europe before A. D. 1300 have these other instruments, but no tzimbal. "The z~mr, still employed· in Moslem countries, is, except in some 1 \iVithin the last ten or fifteen years the comparatively rude-looking but insignificant details, exactly like the' schalmey' of Virdung, A. D. 1510. effective Gypsytzimbal has been developed in Hungary into an elaborate 1 Persian, surn~i, zurnifi (~U),- l.?.u),)); Arab, zemr ~)); Armenian, zurna. VOL. XXJ. - NOS. 8 I -82. 14 210 J'ournal of A merzcan Folk-Lore. Gypsy and Oriental Musz'cal Instruments. 211

elegant instrument. This now to a large extent takes th f . The word "tzimbal" is from the Greek ~santur (uaJ!Twp ), the ancient Greek psalterion, muskdl very often takes the place of the tzimbal. The two are never used santur Persians use several forms,- santtir, zantdr, Tur~sh ~#~). together. The Hungarian Gypsies do not play the musk[I. santur, the root of whtch (zan) means "to ring," to "sound." The skill with which they perform on the Pan's pipe is surprising,­ b The. rocks on the mountains near Kermanshah are decorated with now soft, low, sweet, and now loud, penetrating, and yet most agreeable. p as-~eliefs m~d~ by the Persian King Khozru in the sixth century. A ers1an santur IS there depicted. Several accomplished musicians who have often heard them assert that they play superbly, and produce most beautiful and wonderful musical T~ere are other .very old representations of the Persian tzimbal. It is effects, which cannot be equalled by the :flutists of the best orchestras in not . no~n what. kind of an instrument the celebrated Sambuca of the caphvatmg Lydian da C . . . Europe. There is something particularly sweet, rich, and attractive . ncers was. unous1 y Prretorms giVes, as one about the music of the vertical flute when skiJfully played, but it is very ~:~~ f~r ~he tztmbal: sambuca. The tzimbal is seen in India, and is difficult to play. The Pan's pipe is simply from seven to twenty vertical a k~anun, an Arabic word for a psaltery. The Chinese have it the flutes of different lengths fastened together in a row, or curve, and closed Yf ng Iznd~ buit t?e Chinese themselves, and their books, say that it ~arne rom n Ia. t Is seen also . B h d . . at the lower end. I m urma , an sometimes m Japan. The Pan's pipe is tuned by Rumanian Gypsies before every piece nstru~ents made with strips of wood, and struck with two sticks are played by dropping from one to four peas into the proper pipes, thus ~~~mtohn m m~nybpa.rts ?f the world. Our xylophone is of this type. One sharping or flatting them. They know the notes required, and have very ' e manm a Is Widespre d d d' I I . of Africa. ' a an excee mg y popu ar m many parts nice ears for time and tune; also they can vary the tone by their method The Cuban negroes ha b h . of blowing. the · b b . ve roug t With them not only a knowledge of manm a, ut Its name I C b h Mahillon (vol. iii, p. 409; vol. i, p. 47) adds that these Lautari also instruments in a d f . . n . u a t ey very commonly make such change the pitch by inserting wax in a pipe. bola. ru e ashton, which they call, in their Spanish, marfm- This method of tuning explains the ancient Peruvian stone Pan's pipe, In Russia, Polanct B h · H whose impossible scale has puzzled archreologists. Indeed, it bears evi­ usual and popular ' . o. emta, ungary, Rumania, Germany, the dence that it was so tuned. The G h kb name Is. everywhere a word pronounced tzfmbal erman ac rett hackeb tt · · Bancroft ("Native Races of the Pacific," vol. iv, p. 19) mentions this Colocci (" Gli Zingar· :, re ' IS pr~~er1 ~ applied to the dulcimer. very method of tuning them by the Indians. F h d 1 . . I, p. 29I) calls It zl czmballo" (the tzimbal) In rene a u cimer 1s tympanon. · Although the Pan's pipe is or has been found in nearly all parts of the 2!2 :Journal of A merz"can Folk-Lore. Gypsy and Oriental A1usical Instruments. 2!3 world, at present its use in Europe, Asia, Northern Africa, and America His article well illustrates the use of this instrument in the Farther is almost entirely confined to these Gypsies of the Rumanian district. East. These are seen all over Europe, particularly in some parts of Germany The British Museum has an ancient Peruvian Syrinx called huayra­ and occasionally even now in America. They have a Pan's pipe fastened puhu-ra. It was also known in ancient Mexico. to _their ears, turn a hurdy-gurdy, and beat a drum on the back by As a very ancient in trument, the Pan's pipe (cn)ptv~, cn1ptyyo'>), is men­ strmgs fastened to the foot. Above the drum is a triangle, and cymbals tioned in Homer (Iliad, ro, 13). How much it was used by the ancient played al o by the feet. I have seen them here also, playing the Pan's Greeks and Romans does not seem cl ar. According to Smith's Diction­ pipe alone. ary of Greek and Roman Antiquities, p. ro88, "It was the appropriate Jn central and southern Italy very many of the boys make rude Pan's mugical instrument of the Arcadian and other Greek shepherds. When pipes themselves of reeds and call them Fischietti ("whistles"). So the Roman poets had occasion to mention it, they called it fistula and some of the peasants use it, one popular name being zampogna. also, from the material of which it was made, arundo, calamus (reed), or Mahillon (vol. ii, p. 331) states, "The villagers near Milan during the cicuta (hemlock). Sometimes the pipes were in a curve." A Rumanian carnival sometimes make up bands of fifteen or twenty people, who play dictionary, under Chimp6i (Pan's pipe), gives Latin gingrina, calamus, Pan's pipes, a big drum, and the cymbals." arundo, cicuta, fistula. Soi:ne fifty years ago it was attempted to form such bands in England. The Lydians used it for military music (Herod. i, r7). A Pan's pipe The shepherds of the Pyrenees and Madrid scissors-grinders occasion­ with bellows two thousand years old was found at Tarsus. Representa­ ally use a sort of Pan's pipe. They are mentioned by Spanish poets as tions of it from the sixth century are found on the rock sculptures near zampoiia. The Oliver Ditson Company do not sell more than one in ten Kermanshah, Persia. years. They are made still in Berlin, now of metal, as more durable than As to the origin of it, the ancient folk-lore myth is this: The god Pan the old bamboo style. Some of these are sold in Naples. But, except as became enamored with the nymph Syringa. She evaded him, and above stated, the Pan's pipe in Europe and America is used onlv in finally was changed into reeds. The disconsolate Pan still followed her, theatres and as a toy or curiosity. "During the middle ages in Eu~ope and made of the reeds the syrinx (Italian, siringa; French, Flflte de Pan; it enjoyed great favor, but now it is confined to the wandering musi­ German, Panpfeife) . The modern Greek name is the same as the an­ cians" (Mahillon, v.ol. i, p. 47). Mahillon excepts Rumania, and men­ cient, syrinx, and also the popular word syringa (uvptyya). There are tions the curious fact that there it is called N iii, as well as M uscalu. numerous illustrations of the Pan's pipe from the ninth to the four­ N iii is the Persian word for a vertical flute, and is so used also by the teenth centuries, and it is shown also in sculptures on cathedral porches Arabs. This word came from the Orient. It seems, however, likely that and choirs in Spain, Rouen, Exeter. It was a favorite instrument of the Gypsy influence has made itself deeply felt in Rumania, for the na­ wandering French and other minstrels. tional Rumanian air, " The Do ina," is Gypsy music, many Rumanians Briefly, the Pan's pipe in Europe seems always to have been the instru­ state. ment of shepherd , wandering minstrels, and Gypsies; and to-day its In China and J apan, Pan's pipes are seen, but are not common. The use is almost confined to the Gypsies in or near Rumania. There one Phan (pronounced Pan 1) of Siam is a Pan's pipe. Shakespear, Hind. word for it is Nai. The Gypsies in parts of southeastern Europe also use ,_. Dictionary, gives MiisiJiir 0~,-.o) as a Pan's pipe used by dervishes surnat (zurn&) for their oboe. The u e of this instrument there is nearly and shepherds, but it is rare in India. · exclusively by Gypsies. Both words are Persian, and from it used in. It is very seldom seen in Egypt or Asiatic Turkey. Most natives in Turkish. those countries have never seen one, and know no name for it. As to A Gypsy orchestra often consists of one or two first violins, a viola, vio­ Persia, Colocci (p. 291) says, "In r8ro, when the brother of the Shah loncello, a contra-bass, a Pan's pipe, and from one to three kobzas of dif­ of Persia returned from Paris, he passed through Rumania, and heard ferent size . The kobza is another instrument not used by Hungarian some Gypsies play t~e Pan's pipe (zanzpogna), and acknowledged they Gypsies. It i the Arab lute, and from it the Rumanian Gypsy mu icians surpassed the P rs1ans themselves, the r cognized masters of this derive their name, Ltiuta?'i (sing. Ldutar). The Arabic al'Ud becomes in instrument." · Turkish z!i!'t, t'avflt (~,~),whence the Gypsies obtain another word for Dr. E. ~- v. Horn hostel, ~ho for years has studied Pan's pipes, has their kobza. Hungarian Gypsies, as they have no kobza, often call a recently wnttcn an account of those in the Berlin Museum from Siid­ violin Lii·vutii. Exactly the same kobza is played by European Gypsies Neu-Mecklenburg, discussing those of Java, Siam, etc., and the music. who wander over to Smyrna and the northern coasts of Asia Minor. 214 7ournal o.f A mer£ca1z Folk-Lore. Gypsy and Oriental Musz'cal Instruments. 215 It is well known to the people there, who style it the Bulgiirt. Another an enemy or on a marauding expedition. He had a beautiful daughter curious fact about thi word is that one "\ ord for bagpipe in Poland is who fell in love with the poor hepherd and the sweet music of his beldr, kobza. Many Poles, I find, ar familiar with it, and it is given as the only , and he reciprocated her affection. She begged her father to allovv them word for "bagpipe" in two Poll h po ket dictionaries. Engel (p. 124) to marry. For a long time he was obdurate. At last to her incessant uses this language: "It i remarkable that in the most northern coun­ pleading, for all Kurds are devoted to their children, he said this : "If he tries of Europe musical instruments are to be fOtmd which, from their can keep his flock of five hundred sheep from drinking at the spring for carved ornamentation as well as from certain peculiarities in their con­ three days, you shall marry him." The shepherd watched them day and struction, strongly point to Western Asia as their original home. The night. Whenever they approached the spring he played his sweetest airs Icelandic fidla might well be mistaken for a large Arab rehab." on his beldr. The sheep know this music is their call. They love it. So Arab and Turkish Gypsie for centuries have visited Norway and as he walked away from the spring each time playing, they always fol­ Sweden with their instruments, giving acrobatic shows with music, ing­ lowed him. At the expiration of the three days, no sheep had touched ing, and dancing. Hence people call them Tiitiire. Fifteen years ago the water of the spring. So he won his Kurdish beauty. They were mar­ every summer se ral such bands were accustomed to take the teamers ried, and he and his descendants have always been noted as the best bound for theNor th Cape. They landed at Yarious towns along the coast, performers on the bel?ir, the sweetest of instruments. and were taken up again on the return trip. So in Sweden I have many The popular word for it in Russia, Poland, Bohemia, is dudka, some­ accounts of the same Arab Gypsie , who were tattooed, and who off red times sviry?it. The word is fluyera in Moravia, Rumania, Bessarabia, to and did tattoo some of the Swedi h lads. The tattooing bowed that which is also applied to the oboe. In Greece the Vallach shepherds play they were Arabs. Did any such Gypsies at som time leave some of their it and a short oboe. Both are called jloira. The same vertical flute is instruments b hind, perhaps afterward copied? known to a few in Italy under the name flduerii. Many of these bands were flourishing and had elegantly made in tru­ All these vertical flutes are sub tantially the arne. They vary in ments. They amuse and entertain the country people there, have pl nty length from one to four feet; in diameter, from half an inch to an inch of money, and are looked upon quite differently from the common poor, and a half. The blown end is sometimes cut square across, ometimes degraded, suspected Swedish Gypsy. bevelled. The beliir is often cut square, but rounded to a thin edge. The Norwegian steamer captain always carried them free, as they Gypsies play them everywhere, but they are now one of the mo t com­ entertained the passenger , the cr w, and himself. They played instru­ mon instruments for everybody where they are found, in the Western ments of the fiddle, lute, and flute type , bagpipes, tambourines, casta­ Orient and Southeastern Europe. Often the word duduk is used for nets. Here we ha e a clear instance of all the e coming into Europe for them in European Turkey and Northern Asia Minor. centurie through Turkey, and not pain. The Russian Gud6k ("pea­ III. THE BAGPIPE. sant'. fiddle' ) is very old, and its form shows that it did not originate in Western Europe. The Highland Bagpipe (Pip-mar, Fib-var, [ Piob mhor]) is the Some Gypsies in Syria are famous for their skill on the vertical flute national instrument of Scotland. There is perhaps no instrument of which a people are so fond and of which they are so proud as the (Arab, shabbiibah [ K.?~ J, al o menjdira) . The exquisite performances Scotch of their Pipes. It was the ear of a Scotch woman who fir t on the same (qaviil [Jf~], Turk.) by the Mevlevi de:vi hes ~re always detected the "Relief of L ucknow," and cried, "Dinna ye hear the admired. The Kurdish shepherds play it (Kurd., belur). It IS made of Slogan?" The Scotch regiments in all parts of the British Empire have English walnut (gds) wood; and they rub it with butter and place it in their bagpipe bands, often consisting of forty or fifty pipers. Wherever the sun, when it becomes a light pretty red. Another mailer in diameter, Scotchmen are found, there you will hear their bagpipe. At the annual but longer, is called shamshdt, and is put in a wooden case when not in Scotch dinner of St. Andrew's in Mexico, at every Scotch festival and use, it is so fragile; this produces soft rand sweeter music even than the picnic in the United States, and everywhere, we find the Pipes. The bel1ir. They learn first on a viHk, a kind of flageolet. famous bagpipe band plays every day in the Gardens at Edinburgh; and A popular Kurdi h folk-lore story illustrates the reputation of its they look so smart in their bonnets and kilts, and tep off so jauntily, that music. There was once a poor sh pherd who watched the flocks of a it puts everybody in good spirits to see and hear them. There is no very rich Kurd. He had thousand of beep, goats, cattle, and horses, music more enlivening than the bagpipe. It is often spoken of as rough, and could at any moment lace a thousand retainers in the field to punish harsh, savage-like music. That may be true, but no music appeals more 216 7ournal of Amerzcan Folk-Lore. Gypsy and Or£entat Mus£cal Instruments. 217 strongly to the common ~eople. W~en introduced as new in any country, other work. Two or three do nothing except perform on the bagpipe as Egypt, ~oroc~ o, I~d1a, t~e na~1ves take to it "immensely." (zampogna), and they are Gypsie . . . So the Insh mala-p1pa (~ala pwb) and the piper, pipara (piobaire), Then in Canada bear-leaders very commonly p i a~ th.elr bagptp s, have always been popular m Ireland. as they find them popular in the Scotch districts; wh1le m the Umted The Welsh never played or liked the bagpipe, although one early States they find it an incumbrance rather than a benefit. o they of.ten Welsh king attempted to introduce it from Ireland when he returned leave it with the main band, and play some smaller instrument, or Sim­ from his exile there. ply sing to their bears. One form, the biniou (pl. of benvek, "instrument," Breton) was very The bagpipe was never an aboriginal American Indian i.nstrument. popular in Brittany. Another, the musette, like the Irisli union pipe Wallaschek cites one authority to the contrary, as to one tnbe of ~ew inflated by a bellows worked under the right arm, was an elegant instru­ Mexican Indians, the Keres. But Mr. Stewart Culin, who was collectl~g ment played before royalty by a court piper about the seventeenth cen­ for several months among this and neighboring tribes, made speCial tury. The chalumeau is common in Savoie. These Savoyard pipers inquiries for me. He could not learn that the bagpipe i now or ever wander over France, are often in England, and have been met with even had been, used there. All asserted the reverse. in Cairo. In Rousillon and the Pyrenees district the cornetn.use was the So as to Europe, Asia, and Africa, the fact that a bagpipe is some­ instrument for the dance, just as it i in Galicia, Asturias, and the Basque times or often found in a country, is not sufficient. We must learn par­ Provinces, Spain. o Englishman plays a bagpipe unless perhaps on the ticulars, and such are very scanty, from publications, except as to Great Scottish border. It is found also in the Auvergne Mountains. Britain. On seeing two or three bagpipes from Egypt in a museum, one It appears, then, that it is used in Great Britain, France, and Spain, would suppose they were common th re. The fact is, they are very rare. where the Keltic influence is still most felt, perhaps. I could never find a native who ever saw or heard of one. Very few even For this reason many suppose the bagpipe was evolved independently know any Arab word for it. Artin Pasha, Cairo, the Secretary of Educa­ by and from the Keltic brain. For one who has a Scotch name and a tion, writes me, "I never heard of one in Egypt, although he fre­ Scotch ancestry, it i hard to believe that this is not true. We know it quently saw them in Con. tantinople when a boy; Mr. Findlay, H. must be the fact that other instruments, as the Pan's pipe, must have M. Acting Agent, says, 'Tell Mr. Sinclair the Cameron Highlanders been invented in various parts of the world by different races. introduced the bagpipe into Egypt.'" Artin Pasha ha lived there forty­ To study an in trument, it is not enough to know it is found in a five years, and" knows more about such out-of-the-way matters than any ~ountry: we must learn how common it is, who plays it, in what parts it man in Egypt. The negro regiment now have their bagpipe bands, and IS found, and whence it came. For example, every American child ten take to it immensely. They play it to the satisfaction of the natives, better years o!d is perfectly familiar with the bagpipe. He has often een it and than the Highlanders themselves; that i , more savagely, with more go." heard It played, and knows its name. It is often heard in Mexico, in General MacLean has also introduced the bagpipe in the army of the ~very one ~f the United States, and in Canada; yet it would be mislead­ Sultan of Morocco, and the native band and soldiers enjoy it" wonder- mg to call1t an American in trument. No American ever plays it. It is fully." only used here by fou r cla es - Scotchmen and their children born In central and southern Italy, icily, and Sardinia the bagpipe is a here, Irish bagpiper , Italian bagpipers, and Gypsy bear-leaders from common and popular instrument among the pea antry in the country Southeastern Europe and Syria. districts. They make these themselves, and generally call it zampogna, or In ma?y Canadian cities, as Montreal, Toronto, Hamilton, there are sampogna. Ciaramella (dialectic in the Messina district, ciaranzedda) large reg~me ntal ~ ag~ i pe bands. Cape Breton, Prince Edward's I land, is another common name, which more properly means a mall piffero. a~d some other di tncts, have large populations descendants of Scotch Scoppina is u ed in the Rome province; and surdelina, cornarnusa, and Hlgh!anders. Many of these even now speak onl~ Gaelic. In these parts piva are liter~ry word eld~m even known to the common people. Some bagptpes are exceedingly common. o all over Canada and the United Italian bagp1pers are Gyps1e . Statec:: in Iaro-e cities f d . . ' o , are oun many Scotchmen and the1r ptpers. There is, however, a very numerous class of bagpiper. seen all over In ·Boston are perhaps t wen t y. I n· h p1pers . were seen m. many c1t1es.. Europe. They are Gypsies from Southeastern Europe and Syria. They b ut are largely di ap peanng.· I n B o ton and VICimty. . . now there· can' are seen in England, quite common in France, very frequen tly found in hardly be more than th ree or f our. I ta1 1a. n b agptpers. are more numer- Germany, less frequently in Norway, weden, Finland. In Germany ous, and there are ertainly ten here who tra el about playing wh n out of they are generally perhaps recognized as Gyp. ies, and called by the word 218 7ournal oj A mer£can Folk-Lore. Gypsy and Oriental Mus£cal Instruments. 219 "Hungarians," used in an indefinite sense, and meaning people from the I569, he said, "The worthy father was fitter for a bagpiper leaning a Lower Danube region. No German, Pole, Bohemian, Scandinavian, dancing bear than a prelate." Paspati (p. 238) mentions the fact that the Finn, Russian, Austrian, Swiss, Tiroler, Hungarian, Rumanian, Greek, word gaida ("bagpipe") is often found in Gypsy songs. plays the bagpipe unless he is a Gyp y. This is almost the universal testi­ Manson ("The Highland Bagpipe," p. 65) says, "The bagpipe and mony of a very large number of natives in these countries, and such has short oboe seem to have been intimately associated with the wandering been my own experience. Sometimes I have questioned fifty persons in minstrels of Germany from time immemorial;" and on p. 38, "At the a day. A few only have said that some Hungarian, Rumanian, Vol­ end of the thirteenth century in France it was used only by the lower hynian, and Bessarabian shepherds use it. Almost every one has classes, the blind, and the wandering musicians." asserted the contrary stoutly. Those most interested in the subject and About the seventeenth century it and the Gypsy dancers were very the musicians, Gypsies as well as others, who should know the most popular. Poets sang the praises of "La belle Bohemienne." about it, deny such use. In A. D. I307 in England a payment was made to Janno, a bagpiper, So in Bulgaria, Rumelia, Macedonia, it is a most popular instrument for playing before the king. "Janno" is plainly the Slavic or Hungarian for the dance, weddings, feasts, and is played, mostly at least, by Gypsies. word for "John." J emmy Allen, the celebrated Northumberland bag­ The Gypsy piper furnishes favorite dance music in Servia and Croatia. piper (I734-I8Io), was a Gypsy. His life has been written, and his In Greece several times a year Gypsy bagpipers come round, sometimes exploits heralded in no end of folk-lore stories and songs. Many of the two or three together, and are styled Bulgdri. People in Constantinople Scotch Highland pipers have been Gypsies. One of the colored postal call them Boinik. The ordinary word for a bagpipe in Turkey is gaida, cards now circulating contains a representation of "the Highland Gypsy ghaida (zs~~), a Greek word, or the Turkish word tultim. Gaida is the bagpiper." Naumann ("Music," p. 26o) states, "The popular instru­ word in Bulgaria, Servia, Croatia, and is frequently used for it by Polish, ments of the itinerant musicians during the middle ages were the bag­ Bohemian, and Lithuanian authors and poets. The Turkish word pipe and short oboe." ghtiida (raida, Parisian r about) is its name in Tunis. See a recent ar­ The bagpipe was the devil's instrument, and that of sorcerers. Durer ticle by Dr. E. M. von Hornbostel, "Phonographierte tunesische Me­ so pictured it, and Burns so described it. The Gypsies are rat-catchers. lodien," p. 4· It contains an account of a band from Tunis, bagpipe, The Pied Piper of Hamelin played either a bagpipe or shalmey (oboe). etc., which appeared to be Gypsy. The myth has two versions. Gaita is the only Spanish word, and is used also in Cuba, where In the summer of I907 a Gypsy bagpiper, with his yellow Syrian bear Spaniards from Galicia, Asturias, the Basques very often play the bag­ and Syrian bagpipe, was seen in Farnham, Canada. Formerly many pipe for their dances. passed through every year and amused the people. This bear frightened It is often seen in Syria, particularly played by the bear-leaders. a horse, which ran away. The poor Gypsy was arrested and driven out The "New York Tribune" of July 8, I 906, contains a picture of "A of town, and none have been seen there since. Mrs. Bishop speaks of Travelling Circus in Palestine." One of the men holds the bear and his seeing these Arab bagpipers among the Bakhtiari Kurds. I have pole. Another plays a bagpipe, and a third a tambourine. It is the same accounts of them in California, Utah, Winnipeg, Man., Mobile, Ala., light yellow Syrian bear with a stiff mane between the shoulders, the Savannah, Ga., Virginia, Pennsylvania, New York, etc., as well as in same chain and muzzle, the same bagpipe and tambourine, and the same nearly every country in Europe. men, seen all over America and Europe. ; Chambers, a Scotch Encyclopredia, under "Pibroch," states: "The The Syrian name for a bagpipe is 'anafz ~), also m~jw~z), more earliest mention of a bagpipe as Scotch military music is at the battle properly applied to the double reed pipe. of Balrennes, I 594, and before that time it can hardly be considered as How does it happen that this word gaidais used for the bagpipe in all these the national instrument of Scotland." It intimates that in I4II there was countries? Did the Gypsies take the word and instrument with them? no bagpipe there. Manson (p. 53) says, "The first authentic reference The Armenian words for bagpipe are dig and dkjtir (dukjar) the to it is in 1406." There are references to bagpipers in Ireland and Eng­ Rumanian word, ch-umpiii. The European Gypsies say duda, gaida, and land even two centuries before. The harp, however, was formerly the several made-up descriptive words. national instrument of Scotland, as always of Ireland and Wales. Many Polish poets have written charming little poems on these Gypsy The bagpipe is an old instrument in the East, and probably the same bagpipers, as "The Old Dudarz." as that mentioned in Daniel iii, 5, Io, IS. It is now common in Azer­ When the Czar of Russia degraded the Archbishop of Novgorod in baijan, Persia. It was known to the Greeks and Romans. A coin of 220 :Journal of Amer-ican Folk-Lore. Gypsy a'nd O,riental Mus£cal Instruments. 221 Nero's time represents him as playing on a bagpipe. No Greek or Latin ment, which originated in the East. The Pan's pipe is old, and in Europe words for it are found in ancient authors, although the piper is mentioned. and the Western Orient used now only by Gypsies in and near Rumania. It could hardly have been a common instrument in A. D. so in Greece or Otherwise it is simply a toy or practically a curiosity. Rome. The snake-charmer and jugglers of India and Ceylon now use a The Bagpipe east of France and Italy is at the present time almost rude sort of bagpipe very similar in form to that of the oldest Roman entirely in the hands of Gyp ie of Southeastern Europe and Syria, who bagpipe. It is used also by some hill tribes in India, but is not often seen wander with it all over Europe and America, and take their small Oboe, there. Some of the Indian native regiments now have their bagpipers. Kobza, vertical flute, and other instruments with them ; and this they The usual Hungarian word for "bagpipe" is duda, and for the piper, have done for many centuries. During the middle ages a similar Gypsy­ dudas (dudash). T his is also the Gypsy word there. Sometimes they also like class of wandering musicians roamed through Europe. Who they say gaida:. In Polish and Bohemian the most common word is duda, or were, history does not inform us by name. Nearly all of these instru­ the plural, dudy ; for a smaller one, the diminutive dudka (pl. dudky), ments, if not all of them, came from Asia, some since the first Crusade. wJJ.ich is the Russian word. In Bessarabia the Russian word is volynka Whether the Gypsies brought any of them can only be decided by taking (vaUnka). a broad view of the question after an exhaustive consideration of every­ We find Lithuanian duda; Lettish duda; Wend duda; Croat. dude, thing bearing on the subject. gaijde; Servian duda, gajda; Slovak, dudy, gaydy; Slovenian duda, gajda; Every one of these instruments merits a long article by itself. It is Polish duda, gajda, dudy, dudka; Bohemian dudy, kejda, gaidy; Bul­ impossible here to do more than to throw out hints, and to speak gener­ garian gaida; Greek gaida; Turkish gaida; Portuguese gaita; Span­ ally of a subject ''which opens an enormous scope in, and a deep insight ish gaita; France Roussillon gaita. The ordinary spoken word in the into, a neglected chapter of cultural history." above languages north of Servia is some form of duda. In Germany ALLSTON, MASS. the most common word now is Dudelsack; the piper Dudler, also a w

IV. CONCLUSION. The whole matter can be briefly summed up thus: The Tzimbal is now played almost exclusively by Gyp ics. It is a very ancient instru- Reprinted from the Journal of the Gypsy Lore Society, July 1909 6 HOPE PLACE, LIVERPOOL, GREAT BRITAIN / V.-THE WORD < ROM'

By ALBERT THOMAS SINCLAIR

HE Gypsies in Europe and America universally call thetn~elves T Rorn, or Rum. This word, however, is not so used by Gypsies in Asia, nor in Africa, except by some who have wandered over from Europe. In Armenia and the Kaukasus some, comparatively few in numbers, call themselves Dum, Dam, Lam, the same word as Rom. Gypsiologists haYe taken it for granted that the Roman ' brought this word with them from their original home in the east, and a volume would hardly contain all that has been written in endeavouring to trace its origin. Professor Ferdinand J usti once began a letter to me with these words: 'Die Folgerungen, welche man aus sprachlichen Beobach­ tungen fur ethnographischen Yerhaltni se ziehen kann, haben sich scbon oft a1s unsicher, oder tauschend ergeben, so dass man hier ehr vorsichtig sein muss. Besonders scheint es mir mi slich, die Z1geunersprache, fur solche Untersuchungen oder chlusse zu benutzen, weil die Zigeuner tiberall wo sie gewandert sind ihren prachschatz bereichert haben, und weil in vielen Failen nicht .-a 2 THE WORD 'ROM' sogleich deutlich ist, ob ein Wort echt indisch-zigeunerisch, oder aus einer mit den indischen verwandten arischen, oder indo­ germanischen prachen entlehnt ist.' This ad monition should be borne in mind in discu sing the word Rom. One must be cautious and consider whether it may not have been borrowed on the way, and never brought from the east. For an important fact has been generally overlooked. There are to-day in European and Asiatic :Turkey millions of people, not Gypsies, who call themselves by this same word, and to whom it is applied by all Arabs, Turks, Persians, Hindus, and others, and this ha been Lhe ca e for two thousand years. The Byzantine Empire, also tyled the East Roman, Eastern, or Greek Empire, was founded in 395 A.D., and was brought to a close on May the 29th, 1453, when Mohammed II. captured Constantinople. During this period the Greeks called themselves 'Romans,' 'PwfLato£ (Lat. R o1nani).1 At first its territory included Syria, Asia Minor and Pontus, Egypt, Thrace, Moe ia (now Bul­ garia), Macedonia, Greece, and Crete, but it varied in ext,ent at different periods. The whole empire during much of its existence was rich, populous, and filled with large cities and a pleasure­ loving people. 2 Among the population were many millions of Greeks, calling themselves 'Romans.' Persian and Arabic writers, even Firdusi and Tabari, used Rum as a general designation for the Byzantine Empire,3 and the word appears everywhere, not only in large lexicons, but also in colloquial phrase-books.4

1 Dictionary of Roman and Byzantinf- Greek, 146 B.C. to A.D. 1100. By E. A. Sophocles. 1 70. Introduction p. 10. 2 The magnificence of the Greek civilisation in Asia Minor is shown hy the immense ruius scattered all over the district. In one of the wildest regio11S now found in Knrdistan, the Bohtan, are seen such ru ins, each several square miles in extent. In one, houses and a church w~::re dug out of the solid rock in the side of a mountain. The iuscriptions are Greek, and show themselves to be since the Christ.au era. One of the ruins is at Hazru, another at Maya Tarkio, or Farkin, and there are others in the region. 3 See Prof. A . W. Williams J ackson, Zoroaster, pp. 8 , 157, 216. De Goeje, Memoire SU1'les mig'rations des 'l'sigan e.~ a travers l'A8ie, p. 31. Leide, 1903. 4 Steingass, Pers.-Eng. Diet., rumi '--:? ""/...;'' , 'Roman,'' Greek, ' ' Turkish'; riimi, 'Greek' ; 1·ftrn tJJ 'Greece'; rurni u zanyi , 'Greek and Ethiopian.' vVollaston, E ng.-Pers. Diet. (p. 1479), 'a Greek,' yunc£ni j\j ,._, , rilmi .:-<•); 'Greece,' '-:? ..Ju y ./ yunan ~ \.iy.., 1·um ~ J) ; 'Turkey' (p. 1483), mulk-i-1·um ~J) L!.. H...: (land of

Turks); 'a Roman' (p. 11 02), ahl-i-rurn ~).) ~~ \ (a native of Rum), adj. romi,

~ -1.); 'Romish ' (p. 1103 ), adj. rilmi u , 1'Umani jt...: .); 'Greek' ....;-:;._ y· ...~) ....;, .,/ THE WORD 'ROM ' 3

During the Byzantine period, and for some centuries after, it was considered an honour, evenLy the Turks, to be called a Rum, and all the people in what is now European Turkey and a large part of Asia Minor were so termed. The Turkish Admiral, idi Ali Rer , who visited India, Afghanistan, entral Asia, and Persia in the sixteenth century, called himself Rum with pride. 'Wherever be goes,' aid his tran lator, 'and whatever he sees, Rum (Turkey) always remains in his eyes the most beautii'ul, the richest, and the most cultured land of the whole world.' 1 He was known under the fictitious name of Kiatibi Ru?n, or 'Turkish writer.' One day the Emperor (in Hindustan) asked him whether Turkey was larger than India, and he aid,' If by Turkey your 2 Majesty means Rum proper (i.e. the province of iva ), then India is decidedly the larger. But if by Turkey you mean all the lands subj ect to the ruler of Rum, India is not by a tenth part as lara e.' To-day the word R -rn, Rom ( ince in Turkish, Arabic, Persian, and Hindustani the same letter ) repre ents u and 8) is u ed generally in a more restricted sense than formerly. It is applied by Orientals to all reeks, about two million in number, who are not natives of Greece, and in a still narrower sense to rnem bers of

(p. 499), sub. and adj., yunani iU ~·, rii,mani ·,l"' . , . hake peare, Hinclwstani "-:? .,/" '-:? ././ Diet. (p. 2310), 'Greece,' yfmdn, rum,; ' recian,' sub. or adj., ?"'ttmi; A. ,..,.,,.., , n.lm, 'Rome,' 'the Turkish Empire,'' reece,' 'Romelia,' ' Asia Minor' (p. 1199); A. ..,l• -.• yii.nan, 'Ionia,'' Greece' (p. 2223) ; A. ~· \j..., yunaui, adj., 'Grecian,' - ~ ~ fo sub. m., 'a reciau '; 'Turkey' (the country), ·;-um ; 'Turkish Empire,' rum (p. 2399). Cameron, Egypt.-ATab.-Eng. Diet., 1um, pl. aru:am i ~_,.\ , (''.J

'a Greek Chri tian,' also r1'lmi c-< • 1 ; 'Romish,' 'Greek Church,' Rum ,., , ; \...:: // 1 -../ R 1'lm iJ.J 'Byzantium,' 'the Ro~an Empire of the East,' 'Asia Minor,'' a part of Asia Minor' (p. 109); Yonan ~~~' )?. 'Greek Ionia,' ' reece,' 'the Greeks' (p. 319). Belot, A 1·ab. -French Diet., ' Byzantine,' ' Greek,' 1'Urn, pl. arwam - _,. \, , , i •J (p. 2 0); sonimi, 1·um'iyah d.>..< • 1, <"'"); Yun, Y ii.nan ,.,\j ._. , ,, ._. I .,/./ ../ " ..;,./ Y. ./ - .)u ~'.,; .. ' the Greek nation ' ; J'unani ;.l; ._, 'a Greek,' 'a H ellen.' Meyer, Conv. Diet. 1.....5 ../" Arab.-Germ., 'Orthodox Greek/1·ii.m · 'a reek, rumi, y-unani, etc. Rosen, Colloq.

P er .-Gr. (p. 392), 'Tul'key,' Khal.·-'i- Rtl.m ,.. 1 ~6- (land of Turks). I/-" 1 Tmvels and Adventu1·es of the 'J'w·ki h A dmiml, idi Ali Refs in Indiu. Afghan­ i8tan, Ce11tral A . ia, and P er.~ia, 155 to 1556 A.D. Trauslated from the Turki h by . Vn.mbel'y. London: Luzac and C . , J 99. 2 ' ur author means by ivas, the old eat of the 0 mans; but. in Inrlia and entral Asia Rurn i generally und rstood to stanrl fur the west, and more particularly for the Ottoman Elll pire. ' ( ~..o t e d from awLt!ry, K ote C-) 4 THE WORD I ROM I the Orthodox Greek Church in European Turkey, Africa, and Asia, but not to those in Greece. In Greek the words Romeos (PwJLaZos-), Ro?ni6s (Pwp.yck), which mean 1 Roman,' are ~pplied to Turkish Greeks. For an inhabitant of Greece proper different words are employed. The Turks use Yunlini, Yunanli, and the Greeks ''E!..A:7Jv, vulgar Greek ''E)\:A.7Jvas- (Hillin, Hellina ) ; for the country 1 Greece' they say Yunan, I..:.)'UJ:: and 'EA.A.us- (Hellas), respectively.1 Yunan is from the Arabic and means~ Ionia.' The Turkish Government also styles all Christians, and even Pro­ testants, RiJ,m in their travelling Te, ke1'e. I have myself asked a hundred yrian Arabs 'lnt Rum,' and the answer has come back ~A net R um'(' Are you a R u?n ? '-'I am a Ru?n '). They were Greek Catholics, of whom there are 60,000 or more in Syria. Very often aiso have I heard the same word used in conversation for a Turkish Greek. Only the Gypsies of European Turkey and those derived from them call themselves Rum. The name is not applied to them­ selves in Asia or Africa by the Gypsies.2 De Goeje quotes two cases which seem to be exceptions to this statement.3 One, Doum (Douman), was given by Captain Newbold as used by Aleppo Gypsies. The word was not collected by Captain Newbold himself, but by another, and was Douman not Doum. The Captain expressly states that he himself never beard or found this word, nor Rom, used by or for any Oriental Gypsies. ir Richard Burton, who has incorporated this fact in his book on the Gyp ies, makes the same assertion. Burton also states ·that Nawar, Rum eli, and Chinganeh are all the same Gypsies.' 4 The word

1 Youssouf, 'l'u1·k.-F1 ·ench Diet., Rum ~).) 'Roman,'' Byzantine Greek,'' Modem

Greek of Turkey' (p. 4 5) ; Yunan ~\.; y.. 'Greece' ; Yunani J \j )'!. 'a Greek of

Greece'; Yii11anli, ~ \_; aJ 'an inhabitant of Greece' (p. 629); Roma L•• , 'Rome' u ~ - (p. 484) ; Riimi, adj., ~).) 'what appertains to the Romans, to the Byzantine Greeks, or to the Modern-Greeks of Turkey' (p. 4 fi). Ru~icka.-Ostoic, Turk.-Genn. Diet., R iim, Riimlii, U1·iim, 'a Greek ' ; Rfim Roma, Riinui, 'Rome ' (p. 369) ; Yunan, 'Old Greece ' (p. 1 0). Karl Wied, 'J'm·k. Gram. (p. 16 ), 'a. Greek of reece,' Y~"inan li ; 'a Greek who is a. Turkish subject,' rum. Petraris, j\lew Greek­ Germ. Diet., erm.-Greek part, 'a. Greek,' "EXX77v, vulg. ''EXX77vas; 'a N~w Greek,' ' PW}-'?JOS; ' Greece,' 'EXXd.s: G1eek- erm. part (p. 429), ·pw}-'alos, 'a Roman ' (p. 430); PW}-'7], 'Rome,' vul. 'Pwl-'vos, 'a New Greek.' ee also p. 314. Paspati, 'Pw}-tatot, 'the Byzantine. ,' p. 21. In conversation ~ reek s ay for a Turkish reek, Romeo ·, Ro m~i/. -68 , sometimes Romeos; and for one from Greece, Hellin, H eltinas ; auJ for t..reece, fl ~ l as. 2 .YlacH.itchie, 'l'he Gypsies of India, p. 43. London, 1 6. s lJe Goeje, ltfemoire su1·les m.i!11·ation-1 de.· 7' iyane.s , p. 69. Leirle, 1903. " Burton, The J ew, the Gyp1:y, and l!.'l ];;lam, p. 217. London, 1 9 . THE WORD 1 RO 1' 5

R unuli is simply Turkish Greek (Ruz.-Os. Diet., p. 369, R'um Ru1nlu, etc.). Burton also give R·umeh as a word for Gypsies: 'Kurbat, Rumeh, Jinganeh.' Runteh is 'Rome' in Arabic.1 In the same book it is stated (p. 231) that 'Consul E. T. Rogers of Damascus, during two years' residence and lo~g tr::welling, never heard any uch word as Du1ni. Neither did Captain Newbold nor Sir Richard himself,' though he was at one time consul in amaseus. Extensive enquiries by myself, verbally and by letter, from native and European residents of Aleppo, Damascus, Bagdad, and many other cities and towns in Asiatic Turkey, as well as in Egypt and Persia, have led without exception to the same con­ clusion. No G.) psies out of Europe and America call themselv s Rom or Run~, except European G.) psies who have wandered fi·um their home.2 Armenian and Kaukasian Gypsies often use the word D ,C~1n or Lom, formed by the common interchange of?' and l or l ancl d, as in Luli and Luri, or Das, 'ten,' which in Afghan isla . Another explanation of de Goeje's word is not improbable. There is a city Douma (Duma) of about 4000 inhabitants, distant one day's ride from Beirut. Many Gypsies, I am informed by a native, winter there, and, in their ummer circuit, would probably visit Aleppo and call themselves JJoumiim (Du??uJ,ni), as does every inhabitant of Douma. Two or three bands of Turkish Gypsies from Europe camp outside the city every ) ear and give shows and musical performances. In Turkestan, Persia, and Beluchi tan, Gypsies do not call themselves Rom or any variation of the word. The mere similarity or even identity of words cannot, however, settle the origin of the word Rom, Rum. The Rumanians call their country Ro1nania, and themselves Roman"i, which is 'Romans.' There are thou ands of Gypsies there now, and if it were a fact that the Gypsies originated there (but it is not), we

I Belot, ,F1·ench·A1·abic D ictiona,-y, p. 654, 'Rome,' R1tmeh /,·<_:), Roman,'

Riimani c~' \,...!: l-c/.,.-.; 2 In Sy~ia the Rev. Harvey Porter, D. D., Professor in the yrian Protestant College, Beirut, for some years sturlied the Gypsies there for me, ma.ny of his students assi ting him. On May the 14th, 1900, he wrote: 'The word Rum or Ru:mi , by which you think they call themselves, is the word used in Arabic for 'Modern Greek,' and comes from' Rome'; since, when the Arabs came in contact with the Greeks, the Roman Empire still existed in the EaEt. The word can have no s i ~? ni . ficaoce as inoicating the origin of the Gypsies.' He also states that Syrian Gypsies do not apply this word to thcn1sel ves so far as he can learn. 6 THE WORD ' R M ' should be sure that the Gypsy word Rmnane was simply' Romans.' We must, however, consider all the facts and conditions which environ the word. That the Gypsies had ample opportunities for picking up the word Rom, if they did not bring it with them, is evident from the fact that their lanauaae has a large number of Greek words, and must therefore have been subjected for a long time to the influence of a Greek community.1 This, however, does not necessarily mean Greece; indeed, probably not, but rather the whole Byzantine empire, not only in Europe, but in much of Asia Minor, which contained millions of Greeks. The whole district of Byzantine influence in Asia was rich, and likely to favour the presence of. people like the Gypsies. Such considerations have not been generally, if at all, taken into consideration. Long before the Christian era this territory had a large Greek-speaking population, particularly on the coasts. Gypsy could as well have been subjected to Greek influences here as in Europe. vVhen the Gypsies first came to these regions history doe not tell us. \Ve can only judge and infer. If it be true that the Gypsy word Rom is the same as, and came from, Ro??Utni, 'Romans,' such a fact would perhaps tend to show a greater antiquity for them in Byzantine Asia than has been suppo ed. And this is the view which occurs at once to those on the spot. They say that Rom is a word used in European Turkey for the Greeks there now, and during many centuries for all the inhabitants of that district. 'The Gypsies were there too, and naturally applied the same name to themselves. Why go to India for the word?' they ask. I have never been able to give an an wcr which satisfied any of them. 2 One Engli:sh officer took a

1 It is to be noticen that in the Constitution of Catalonia, 1512 A.D., Gyp ies are mentioned as 'Bohemians and iools, styled Bohemians, Greeks, and Egyptians' (J.tJ. L. ,..,·., Old erie , i. 37). Bataillard also says that in 1512 some Gypsies alleaed they were Greeks. ~ The Rev. J. Henry House, D. D., an American Mi ·sionary in alouika, ug. gested in a letter of August the 19th, 1901, that' the name" Rome" (Rom} , which they give themselves, would indicate that they thought they were of Roman origin.' The Rev. Lewis Bond, American Missionary in Monastir, wrote on October the th, 1901, 'The Gypsies here call themselves Rome pronounced RO?n. My opinion is this Rom is the same as Room, which is the word always used by the Turks for a Christian subject. The 'I urks call Greeks Room, and in making out a travel­ ling T e l.:e1·e for any Christian he is entitled as a Room, that is, as a Gr~ k Orthodox. Even Protestants are thus entered. ' The Rev. I obert Thomson, an American Missionary in Ramokov, Rnlgaria, wrote to me on August the 24th, 1901, t.hat • the Oyp ies of Bulgaria and H.umel!a call th m <: cl\'e · Rfi.mi, or Rami, au abbreviation of Ro m a t~ i , which is just "llomans."' That 'they call the Turks THE WORD 'RO ~' · 7 facetious v1ew of my insistence that the Gyp ie brought Rum with them from their original home. He told me, and also wrote that he felt confident, that if I considered the matter enough I should find that word had exactly the same origin as the Arabic d~lc R'fimi (a turkey). A possible connection between the Gypsy Rom and Rome ha of course, been entertained not infrequently.1 Whiter suggested it; and Borrow evidently regarded it as possible. In the introduc­ tion to his Zincali he says, indeed, 'there is no reason for snppo ing that the word Roma or Rommany is derived from the Arabic word which signifies Greece or Grecians, as some people not much acquainted with the language of the race in question have imagined.' But in the introduction t.o Laveng?·o be main­ tains that 'The meaning of Romany Chals is lads of Rome or Rama; Romany signifying that which belongs to Rama or Rome:' and he frequently translated Gypsy Romano by 'Roman.' Groome quoted Lucretia Boswell, who regarded RO?nani as equivalent to 'Roman woman,' and Crofton asked, 'Does R6mani signify Roumanian?' 2 Are there any Indian words from which our word Rmn could be descended? A few suggestions have been made, and much has been written on this question. Childers's Pali Dictionary gives words similar in form who e meaning might be supposed to be appropriate, for in tance, Ramano, 'pleasing,'' charming,· Ra?nani, 'a woman.' And when we find also so many clear Gypsy words,­ chirt~Js, time; choro, thief; chapo, child ; baro, great; aggi, fire ; aklci, eye; anguro, charcoal; attha, eight (Gyp. ota); taruno, young (Gyp. tarno); tulo, fat ; ti~ no, sharp, small; daso, slave (Gyp. Da , Dacian Slave); divaso, day; dulclcho, painful; duro,

Horahai, or Orhai, from Orban, the first of the Turks to pass into Europe.' Orban (1326-1359) gained a. footing in Europe by the taking of Gallipuli and other fort­ resses on the coast. This use of 01·hai may be significant of the early presence of Gypsies there. These letters sufficiently illustrate the views of many 11eople living in the Orient, who have written and told me the same thiug. They are familiar with the East, its people, its history, its languages. They hear the word used in conversation every day, as a term applied to millions of people there now, or formerly there. 1 For various discussions of the word see Pot.t, i. pp. 35-43 ; MacRitchie, Gyp .~ies of India, Note N, pp. 91-108; Paspati, pp. 19-21; and Ascoli, Zigeune­ riiJches, p. 56. Some extraordinary speculations will be found in Luca"', '1'/J e Yetholm Hi8tory of the Gyp. ies, pp. 66- . Kelso, 1 82. The last author, in his article 'Petty Romany' (Nineteenth Century, vol. viii. pp. 579-80, October l 0), argues that they picked up the name in Rumania. 2 Journal of tiLe Gypsy Lore Society, Old Series, i. 50. THE \Y RD ' R0:\1 ' far; clu e, cl i, two; ev ~. ju t ( yp. a a)· gajo, elephant; gtdo, suo-ar; lc ~lo, black· and very many others; it eems at first as if ypsy were Pali. For rali was a common spoken dialect of the pe le long before the C:hristian era. We find a word, moreover, similar to Luli, and very appropriate for one class of Persian Gypsies and the Kabul Luli. A careful study shows, however, that Gypsy never could have originated from Pali. Phonetics and so many thing settle the contrary. I have had interesting discus ions with several learned Hindu Pandits about the words Rom, Rum, Rom,ani, Don~, Dum, Do'ms, etc. None could suggest any parallel word in Sanskrit, nor in any Hin u dialect, except pos ibly R1imcr-na, 'a lovely man,' and Riiman -, 'a charming woman,'-evidently the same idea as Pa pati's conjecture, kr. Rama, 'beautiful,' which wa rejected with an emphatic ! by A coli. I have been unable to find any probable word myself except perhaps Darn, Dum, and, what is phonetically the same, Rmn,-the exact word used by Gypsies for them elves in Europe or Armenia. To whom are they applied in India? The Pandits knew the Dom well, but did not believe the ypsy word Ro?n came from them, and they gave as their reason that although there are Doms nearly all over India, they are of different kinds. That the word Dom does not indicate in India any well-defined race is shown by Crooke,1 who describes many different varieties among the 298,923 enu erated in the census of 1891. Some have Gyp y-like habits, occupations, and modes of life, but not more Gypsy-like than those of many other Indian nomads. orne are the very dregs of impurity, the Helots of all, shameless vagrants, eaters of carrion, beggars and thieves: but others are fairly re~pect­ able farmers and arti ans. Their face is of a low type, and they are generally described as Dravidians, although sometimes they are supposed to be remnants of the aboriginal Mongolo-N egroides; 2 and those between Gn.ndaki and Gilo-it are a mixed tribe of Thibetans and Hindu .3 orne are priests of evil spirits and pre­ serve the pure demonis1n of the aborigines, and in some districts

1 Crooke, The .Y o1·th· II'e.'t P1·o1 incP8 of fnrlia, 1 97. Pa:Jsim. 2 Caldwell, quoted by Crooke, loc. cit., p. 49 ; Drew, 'l'he Jmnmoo, p. 56, London, 1675; Pischel, 'Heimatb der Zigeuner,' D eutsclu. Rund cJ,an, vol. 3G, p. 353 (Sept. 1 83), and J.G.L.S., New Series, ii., 312-3; Biddui}Jh, 'l'1·ib of Hindu Koosh, p. 39; Ujfa.lvy, Le AnJens au 1:\ 01·d et au 1ul de l'Hindou-Kouch, pp. 256-8, Paris, 1896. a Franz von chwartz, Die Sindjluth, p. 21 , 1 94. THE WORD 'ROM ' 9 they admit outcasts and so increase. In one district, Baltistan, the Chins call themselves Rom.1 Moreover, the title Dom is quite unlike the Gypsy Rom in that it is one of which the bearer is not and could not be proud. Mr. H. H. Risley wrote to me that it 'is probably a tribal name, of the same type as Kol, H o, etc., meaning rc man."' But in Pashto, as Dr. Grierson informs me, it is used for 'a native of India who is a professional singer and reciter,' and a Moslem belonging to AU~ k eight miles west of Peshawur, asserts that in the Punjab it signifies ' comedian,' 'a man to make fun,' and that they are of different races in different districts, but have the same trade or profession. The contrast between Doms and Gypsies is very striking. The Gypsies are the same race, the same Romane, everywhere they are found, and are so recognised in diflerent countries by everybody who meets them; and they all have the same secret Romani chib. But the Dum of India are not all the same. There are several kinds of Dum widely differing in life, habits, customs, personal appearance, and language. There is no one secret Dum tongue. 'Vhere the Gypsies wander there are no other castes similar in character and life. In India there are many other nomad tribes and castes, not Dums or so called, but certainly as Gypsy-like. Indeed some are more Gypsy-like than most, if not all, Dums. Nobody in India uses Dum as a word for Gypsies, or the nomad Gypsy -like classes. 2 To sum up, we have the fact that the Byzantines before the Christian era called themselves Rorn, and that the Oriental word for the Latin ' Romani,' Rurn, was and is applied to them, and to the modern Greeks, by all western Orientals even the Mghans. The Greeks to-day, everywhere except in Greece, apply the same name to themselves. The Romans were proud to be Rornans.3 A Roman citizen felt himself the equal of Kings. The Byzantines, with equal pride, claimed to be Romans. So do the European Gypsies. The African

1 Ujfalv), Zoe. cit., p. 313. Drew also mentions a. caste called Rom in a village in Dardistan. He could not identify it with any other, and did not meet the name elsewhere. ' 2 Under the word 'Gypsy' in Hindi dictionaries are found kan}ar, khana-ba do.sh, na,tni (fern.), ~hagn i (fern.). Shakespeare, p. 2308, gives 'Gypsy, khana-ba- dosh (dakh) gurguri-wala ; p. 975, ~)'-'-! A,j k;.. khana-ba-dosh, a traveller, a pilgrim, a gipsy, rover, sojourner (house on the shoulder).' The word khana-ba­ dosh is perhaps the Hindu word which would best translate our word Gypsy, and the one most commonly used for all Gypsy-like nomads. Dum is not so used. 3 Cf. Acts xvi. 37-8. V.-b 10 THE WORD ' RO)l ' and Asiatic Gypsies do not use the word Rom. Between Europe and India there is a wide expanse of territory full of Gypsie.- , practically none of whom call themselves Ron . Despi ed by everybody, and despising everybody in turn, the Gypsies of E urope still proudly call themselves Rum. Very likely it is imply the native pride which most people feel for their race. But n oToes and many other races and peoples do not exhibit such a racial self-satisfaction, and certainly the Dom of India is not proud of his title. The meanings an l uses of the word R orn and 1J01n are a different as the race which bear them. On the other hand, the lanauage of the European Gypsies has plainly been affected greatl; by Greek, in some district where Greek was spoken, whether in the Europen.n or Asiatic portion of Byzant, one or both· and they are to-day most numerou in that part of Byzant which now is European Turkey. It would have been difficult for them to n.void picking up the word R on during their long sojourn in this district, and they u e it in the sen e which would be expected were this the case. \ THE GYPSY LORE SOCIETY

ALL interested in the study of the Gypsies are invited to ft join the Gypsy Lore Society, the aim of which is to promote and facilitate such study by the publication of a Journal. This Journal appears quarterly and includes articles dealing with the Language, Ethnology, and Folk-Lore of the Gypsies, written by the chief authorities on these subjects, popular essays of interest and high merit, reviews of all publications which relate to the 'Affairs of Egypt,' and a Notes and Queries section of shorter but not less important contributions. The annual subscription to the Society is one pound sterling, payable in advance on July 1, and intending members should apply to the Honorary Secretary, R. A. Sco'TT MACFIE, Esq., M.A., B.Sc., 6 Hope Place, Liverpool, Great Britain, who will be glad to give any further information.

Times.-' We welcome the re'Vival of a journal which deserves the support of students of philofogy and of racial character, as well as that of the specialists to whom it more directly appeals. Mr. David MacRitchie has enlisted the help of so many scholar_s at home and abroad that the enterprise may claim to be of international interest.' Mercure de France.-' Instrument indispenEable de travail non seulement aux specialistes, mais a tous ceux curieux de savoir, ce que sont au juste les Tsiganes, groupement fractionne d'une origine lointaine.' Gottingische gelehrte Anzeigen.-' Wie man sieht, ist das neue Journal mit Erfolg bemtiht, der Zigeunerkunde weitere F..Ordernng zu bringen. Wir begriisseu es mit aufrichtiger Freude und wtinschen ihm · eine langere Lebensdauer, als seinem V organger beschieden gewesen ist.'

I THE GYPSY LORE SOCIETY 6 HoPE PLACE, LIVERPOOL, GREAT BRITAIN To / ¥ fT.-( /1¥c...Li. _,.. c. ~ ~~ ~C..-. fa.'-~ .· be. ~ ,c:;_ _:L ~"1~o- .. ~

FOLK.-SONGS AND MUSIC OF CATALU- A

BY A. T. SINCLAIR

REPRINTED FROM THE JoURNAL OF AMERICAN FOLK-LORE, VoL. XXJII.-APRIL-JUNE , 1910.-No. LXXXVIII FOLK- SONGS AND J\1USIC OF CATALUNA

BY A. T. SINCLAIR THE folk-songs, music, dances, musical instruments, floral and other festivals, the customs, the Catalan dialect, - all confirm what history records, that Catalufia, Provence, Languedoc, and other dis­ tricts, at one time formed one people. It may be interesting to the members of the American Folk-Lore Society to learn something of the splendid work a si ·ter folk-lore society is doing in Spain. The Centre Excursjonista de Catalunya" has for its object col­ lecting and preserving everything connected with the hi tory, art, language, traditions, customs, folk-songs, music, dancing, and people of Cataluiia, and also making mountain excursions in the Pyrenees. It is a most flourishing society, which publishes a monthly journal, handsome in appearance, and with fine photographs of church porches, costumes, dances, etc. One branch of this club is called "The Folk­ Lore Section," the work of which is illustrated by the fact that it has already collected five thousand folk-songs with variants, and three hundred folk-dances. Many of these have already been published with the music, and the remainder will soon appear in print. The Smithsonian Institution has recently arranged for an exchange of publications with this society. Two articles by myself in this Jour­ nal - " Gypsy and Oriental Music" (January- March 1907, p. 16) and "Gypsy and Oriental Musical Instruments (April- September, 1908, p. 205) - led the Secretary of the Cataluiia Society, Mr. J\.L S. Gatuellas, to correspond with me on these subjects. The result has been the acquisition of many facts which are new and interesting, especially about tnusical instruments. During the winter and spring of 1909, Senor Gatuellas delivered a course of lectures before their Folk-Lore Society on "Gypsy Music," in which he also treated somewhat all Spanish music. The lectures were illustrated by songs interpreted by the best artists of the Orphe6 Catala and Barcelona. This musical society (Orphe6 Catala) has a 2 Journal of American Foll<,-Lore handsome building of its own, containing a large exhibition-hall, club­ room, musical library, etc., and has done much to encourage and foster the study of folk-songs and music. Mr. Gatuellas has made a special study of Spanish music and mu­ sical instruments, in which he has received the assistance and cooper­ ation of the musical people in Catalufia. He expressed the following conclusions. The popular music of southern Spain differs notably from that of Catalonia. The Andalusian music has its principal source in Gypsy music, and also is largely influenced by the Arabic, and both are Oriental. The Arabs were established there for eight hundred years, much longer than in the rest of Spain. In the north are found the gaitas, tenoras, grallas, tam­ borilos, andjloviols of different forms; while in Andalusia, the country of Gypsies and toreros (bull-fighters), we see guitars and castanets. In the north the type of music is Gallic; in the northeast, Provens;al; and in the south it is Oriental. The Provens;al influence is more pronounced in the northeastern and central parts of Catalonia and on the slopes of the Pyrenees; willie in the music of the "Campo de Tarragona," we hear the echoes of the Roman and Arabic civilization. Musical I nstruments.- The bagpipe is called by many different names in Spain. Indeed, nearly every district has a special nickname; but the name gaita is the general, common word everywhere. Corna­ musa is sometin1es used. The favorite term for it in Catalufia is Sach de gemachs (saco de lamentaci6nes), a literary as well as a colloquial word. In the Balearic Isles, the nickname X irimies is common. The origin of the word is due, it is said, either to th:e resemblance of the droning pipes to the lamentations of Jeremiah, or to the similarity of these tones to the word X irimies. The bagpipe is found in very many districts, but especially in Galicia, where every holiday, every festival is enlivened by its strains, and all the dances are danced to its music. Formerly, even in Cataluiia, it was heard everywhere, indeed at the very gates of Barcelona (Llano de Llobreget), and was "the king of in truments" in all the coblas. This name cobla is applied to the rural orchestras, which consisted of a bagpipe, a tenora (a kind of oboe) , a tamboril (small drum), and a floviol (a flageolet). In the "Campo de Tarragona" a gralla was also used. At every festival and on every holiday could have been seen in bygone days these coblas entertaining the peasantry, and furnishing their dance music. To-day, unfortunately, the "march of progress," the ease of com­ munication, the modern pian.inos (hand-organs), have driven into oblivion their old-fashioned orchestras, the pride of the mountain Folk-Songs and },fusic of Cataluna 3 villages. It is only rarely that some old gaitero (bagpiper), driYen from his mountain home by a poor harvest, appears in the capital city, and that the "moaning" of his gaita is heard. Not so in Galicia A.., turias, and the Baleares, especially the island of Mallorca whose inhabitants play it with religious zeal; and it i to the measures of the bagpipe that are danced the Mufieiras in Galicia, the Purisalla or Purrisalta in A. turias, etc. One photograph from Palma, the capital of Mallorca represents a peasant's dance. The music is a guitar and a bagpipe, the upper part of the bag of which ends in an animal's head. The handsome country lassies are dressed in their beautiful and picturesque costumes with lace headdresses falling to the shoulders, and brought round the neck in front. Another shows a group of five n1u icians. Three are playing their bagpipes, which have two or three drones hanging down on th.e right side and a chanter and blow-pipe. The other two are playing a floviol held in the left hand; while the right beats the tamboril sus­ pended by a cord round the neck, and twisted about the left forearm, so that it hangs just below the arm in a convenient position for the single drumstick to reach it. Still another photo portrays the " Cosies de :rviontuiri." The dan­ cers are attired in curious fantastic costumes of olden times some wearing masks, and the music is furnished by two musicians like those last described. · In Mallorca also is still performed, in the church at Allora, a reli­ gious dance every year at the festival of St. John. The dancers are six boys in tall hats, with one high-pointed peak standing up from each side, and otherwise in a peculiar costume. i\nother boy, called the dama, is dres ed as a girl. The music is two guitars, and one small guitar (called guitarina) about eighteen inches long, and ha ing a round body like a banjo some ten inches in diameter. It is new to most people that such a dance is now to be seen in a church in Spain, except in Seville. A similar dance is also performed yearly just outside the church­ door, in honor of San Juan Palos, at Felenitz, Mallorca. One of the boys is dressed as St. John, and bears a cross. The musical instru­ ments used there are a drum, guitar and a violin. An ancient dance of Ampurdan is the Sardana, which within four years has become the" rage" in Barcelona. Everybody is dancing it, for everybody dances in Spain; and all composers feel it a duty to write a new Sardana; that is, new mu ic for thi dance, but all made and elaborated from folk-melodies. Already more than a hundred new Sardanas have been published. The Sardana is now proclaimed the national dance of Catalufia. The tradition, or perhaps part of it at 4 Journal of American Folk-Lore least, which might be called the old myth current among the Ampur­ danese, is this. The Sartos were a great and powerful nomadic race, who assisted in the building of many of the enormou~ monuments and edifices now seen as ruins in Egypt. They belonged in Asia, and carried with them to Greece a dance like the Sardana. In antiquity the Greeks founded a large colony, Emporyon, the modern Ampurdan, which extended from the Gulf de Rosas (Rhodyon) to Guesaria (now Sant Feliu de Guixols). Extensive excavations have been made in this district, and many ancient Greek vases discovered upon which are displayed figures engaged in a dance similar to the Sardana, and which is claimed to be its origin. These Sartos were half-giants, and lived all along the Spanish and French shores of the Mediterranean, and are suppo ed to have given their name to Sardinia; but they al­ ways continued to be nomads. The Ampurdanese are large in size, and furni h all the mountain-artmery soldiers for the Spanish army. Such is the folk-belief held in Ampurdan. The dance reminds one strongly of the kolo) -a popular dance to-day in Greece, Kroatia, Servia, Bulgaria, and the whole Balkan Peninsula. Both sexes join hands and form a circle, sometimes containing three hundred persons, while inside the ring numerous smaller circles are formed. The dance is complicated and elaborate in its measures and figu res, and requires skill and practice for all to exactly fit the peculiar music and make the Spani h stop on the right note. It is supposed to represent the twenty-four hours of the day,­ eight for sleep, and sixteen for the waking hours. The measures for sleep are sorrowful; but suddenly the crowing of the cock is imitated by the shrill tones of the floviol, and every dancer must be precisely in time and place, ready for the joyful measures of day. The dance occupies eight or ten minutes, and the music is exceedingly peculiar, but greatly admired by the Catalans. The musicians of the coblas are country-people. Some are peasants who earn a few pesetas by playing a tenora or other instrument at festivals. Others have some musical education, and form the coblas which travel over Cataluiia. Those of the best coblas are professional musicians. The most famous is La Ampurdanesa Cobia," led by Senor Sureda, who has verified the details of instruments here given. Another celebrated cobla is ' La Principal" of the town of Perelada. E ery town of much size in Ampurdan has its cobla which plays Sun­ day afternoons in La Plaza l\1ayor and sometimes visits other towns. The amusement adverti ements in the Barcelona newspapers al­ ways contain notices of where several coblas can be heard afternoons and evenings. With the Sardana these coblas have become the fashion. A cobla de Sardanas has one floviol; la primera and segunda. tiple; one tam- Folk-Songs and Music of Cataluna 5 boril; two tenor as, primer a and segunda; primer a and segundo cornetin de piston; two fiscornes a cilindro, primer and segundo; one contrabajo; and sometimes two trombones are added. (a) The jloviols are pastoral instruments, typical of the Pyrenees, with very slight variations in construction in different districts. The Rousillon instrument said to be called jlaviol is the same as the Cata­ lan which is written jloviol but pronounced flu' viol. The " Essayos de Critica J\1u ical/' par Antonio Noguera, Preface by Juan Alcover y Maspone (Palma, 1903), an exhaustive work on the music, etc., of Mallorca, gives fabiol. The shepherds make them of reeds (caiia) just like those repre­ sented in old pictures, etc. These are roughly made, but have a power­ ful tone. Those used by the Barcelona coblas are turned out of ebony, or granadillo (wood), and are very nicely made. They have five fin­ ger-holes and four keys. There is neither mouthpiece nor reed, only what is vulgarly called llengueta de floviol. In short, it is a sort of flageolet about twenty centimetres long. (b) The tiple is a wind-instrument. In Alt6 Arrag6n a kind of guitar (small) is called tiple. The tiple of the coblas is a little larger than an oboe, and thicker, and is sixty centimetres long. It is made ofjinjoli or cerezo (cherry) wood, and has six finger-holes, twelve keys, and a double reed mouthpiece larger than that of the oboe. (c) The tamboril is a very small drum. Those still used by the coblas of Ampurdan itself are of antique type. One of these measured by the writer was a hand orne instrument very well made, four inches high, and three inches and a half in diameter. The body was of a black wood, and both ends were covered with skin, held in place by two yellowish wood rims. Cross-strings run down the sides, which could be tightened by a key. There was a round hole in the side of the body. The single drumstick was neatly turned from ebony, and one foot long. The tamboril-player also plays the jloviol. The Mallorca tamboril is somewhat larger. In Catalan, tamboril is written tamborf (but pronounced tambur!) and also tamborino. One verse of the dance-song "Ball de Sant Farriol'' ( ' Bulleti del Centre Excur ionista de Catalunya," Num. 171, April, 1909, p. 114) runs thu :- " Joy lo pastor - viviriem d' amoretes. Joy lo pastor - viviriem d' 1' amor, Glori6s Sant Farrio1 - ballarem, si Deu ho val. Lo qui toea '1 tamborino-n' ha perdut e1 flo viol."

"He who plays the tamborino, has not lost the flo viol," alludes to the fact that one musician plays both. 6 Journal of American Folk-Lore

The miraculous wine-skin of Saint Farriol always kept itself full! ~ (d) La tenora is made of granadillo or jinjoli wood . has six finger­ holes thirteen keys, and the mouthpiece is double reed similar to that of the jogote. It has a bell mouth of white metal thirty centi­ metres long and twenty centimetre wide at the mouth; whole length, ninety centimetres. Its tone is trident, sounding as much like wood as metal, peculiar, yet agreeable, and very melodious. It is the clas i­ cal jnstrument of Ampurdan on which Sardanas are played, and it is al o u ed in Rou ilion. (e) The cornetin de piston is the same as the French cornette a piston. ( f) The fiscorne a cilindro is a brass in trument with valves made in Catalufia, but the cilindros are bought in Germany. The in tru­ ment called in music-store there fiscorne, and used in theatre orches­ tras, is different from that of the coblas. l\1r. Victor Mahillon writes me that from my description it is simi­ lar to the Flugelhorn. ~ (g) The contrabajo is our double-bass vioL ( The tiples, tenoras, floviols, and tamborils are made by country people. At Sant Feliu de Pallarols (bajos Pirineos) is one shepherd instrument-maker, and in Figueras another, who has inherited his profession. The contrabajo andfiscorne are in the key of C natural; the cornetines and tenoras, in B flat; the tiples and floviols, in F natural. (h) Of grallas there are many kinds. Those in the north Asturias Castillas are well known, but these differ much from those of the Xiquets of Valls (Campo de Tarragona). These ate made of wood, forty centimetres in length, have six finger-boles and four keys, and a double reed mouthpiece smaller than that of the oboe. The Xiquets de Valls are a class of showmen gymnasts peculiar to the city of Valls. They appear in the cities of Cataluna on the days of festivals, and build their human castillos (castles) eight or nine stories high, to the shrill, ringing tones of their grallas, and to the rattle of their tambores (drums). The name " Xiquet" is applied in Valls to the smallest member of a family whether child, man, young or old. A special melody is played while these castillos are building. These in Catalan called castells or espedats are raised in this manner. Four, six, or eight men who resemble toros (bulls) form the base, according to the number of stories to be built. On to this base climb the same number of men less one, making the second piso (story); and so one story i raised above another each one less man than the one below it until only one story remains, which is formed by a chiquillo (small bov) called usually baylet. The espedats (abismo in Catalan) are made with only one man for a story. Both castellos and espedats are sometimes even ten stories Folk-Songs and Music of Cataluna 7 high, which occasionally break down and fall. "\\7hen they come to Barcelona and salute the Consejo Municipal, they form an espedat and scale the balcony, and the baylet pre ents his greetings to the Alcalde of the city. The Pan's pipe called zampona is used in the centre of Spain, and the adjacent di tricts north and south of it; but it is now largely rel­ egated to the remote parts of the mountains. It is not infrequently seen, however, even in Barcelona, played by wandering esmotets (scis ors-grinders). These generally belong in Central pain, but some I of them are Gallegos (from Galicia, etc.), and some come from the French Pyrenees. Occasionally also a Castillian beggar is seen so­ liciting alms to the sound of his zampona. Some of these traveiling cu tiers have zamponas made in the old style of reed ; but generally, thanks to their cheapness, metal ones are used. The one I have obtained in Barcelona, is of white metal, has twelve 7 tubes or pipes from r% inches to 3 6 inches long. The holes vary in diameter from ~ inch to %6 inch, and are stopped about one inch from the bottom with wood or cork. They are held together by a metal band % inch wide, and beginning 2 inch from the top; and this and the pipes are also soldered together. It is neatly made, and has a scale of an octave and a half. These are musical instruments in the proper sense of the word; but zamponas of-oat-straws etc., are made by the boys in many districts, especially some parts of Andalusia and the centre of Castille. In brief, in Spain just as in Italy, although the Pan's pipe has almost disap­ peared as a musical in trument, as a boy's toy it is common in large districts. Some infer from this fact that it was in common use, and references in literature tend to confirm this view. The Spanish folk-music, sometimes low, sweet touching and again gay joyous, so full of life and vigor as to . et the feet and fingers in motion, has a peculiar fascination, and it is always melodious. The rich tore and variety of this music, and also of folk-songs, are very great and cannot fail to interest all lovers of folk-lore. The Centre Excursionista is cultivating this field with all the ardor and enthusi­ a m of their Southern blood. There is a story among the people of Spain- indeed, the scene has been depicted in a noted painting - of the church prelates who assembled to pass judgment on the propriety of the Saraband dance. They E tened to the arguments of the accusers with stern brows and forbidding aspect. The case seemed hopeless; but son1ebody sug­ gested that the prelates should view the dance itself to confirm what was plainly their coming decision. Some graceful bailarinas were brought in, who commenced the dance to the catching melody. The 8 Journal of American Folk-Lore faces of the judges soon began to relax, and a look of pleasure strolled over their features, until at last, carried away by the fascinating strains, the prelates themselves joined with gusto in the dance. Perhaps this is merely a story, but it well illustrates the peculiar; bewitching charm of Spanish mllsic. ALLSTON (BOSTON), MASSACHUSETTS. ToP~. wdL<-<-t· ~~ +I~ ~c.,_~ ~ tL ~

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T ATTOOING-ORIENTAL AND GYPSY

BY A. T. SINCLAIR

I NTRODUCTION Many years ago while investigating Oriental Gypsies I found that tattooing was one of their principal and characteristic occu­ pations, and that nearly all of the common people in Syria, Meso­ potamia, Arabia, Egypt, and at least parts of Persia were tattooed, and so in Egypt were many of the rich. The most of this tattooing is done by the Gypsies. They are the experts. Wherever the Bedouin go there go the Gypsies (Nawar), who also do tlzeir tattooing. In all these countries tattooing is a very old custom, going back to the most ancient times. Some of the oldest cuneiform inscrip­ tions discovered in Babylon show it to have been then and there a common practice. It was a custom among the old Hebrews which Moses prohibited by his Law. A Persian in Susa tattooed the head of a slave, first shaving his head. After the hair had grown out again to conceal the mes age, he sent him to warn his friend Aristagorus of the treachery of Persia. It was the general practice of the Phenicians and other Semites. So the custom is ancient in E gypt. The early Christians tattooed themselves with religious devices. The practice has persisted and continued in all the above mentioned countries down to the present time. Since the N awar are the professional tattooers there now, the question arises, How long have they been such? Did they bring any peculiar designs, processes, or tattooing customs with them, or simply adopt in each country the devices popular and a trade they

A M . A TH. , N. S., I o-2 4 . 36 I AMERICAN ANTHROPOLOGIST (N. S., 10, 1908 found lucrative? With the hope of perhaps throwing some light on such questions, for years I have carefully studied tattooing in all countries where Gypsies are now found, and considered also India. Mr H. H. Risley (now Sir Herbert) wrote me, August 28, 1902, that the subject was new in India and they had just taken up its study. He also suggested that a comparison of Hindu tattooing with Gypsy might lead to interesting results ; the tattooing in India at least often is performed by a Gypsy-like class. The fascination of the subject and the suggestions of so many have led me to go into it broadly and generally. It is beset with many difficulties. There is no comprehensive work on tattooing, and very little has been written on it as to the Western Orient, or India.

I.-THE WESTERN ORIENT It is an old custom for Christian pilgrims to Jerusalem to be tattooed there with some religious symbol, their name, or initials, and the date of their pilgrimage. The Armenian word for a pilgrim is mtthdest (mtth death, dest I saw). Hence this name is applied to a tattoo mark done in Jerusalem. It is also spoken 1'nuks'i , 1nukdzsz., 1nukdesz.. Since such pilgrims are practically the only Armenians tattooed, it has become the ordinary and indeed only word for tattoo mark in Armenian. Occasionally an Ar­ menian is seen who when a boy had a dot or a minute cross made on his hand, but hardly one in a hundred. Even then, however, he calls it malzdesi. The Armenian women as well as men make this pilgrimage and are all tattooed there in the same way. I have examined more than a hundred such devices, which they always show with pride as it is considered a great honor to be a Mahdesi. And they gladly explain the details and significance of the designs, why and where they were made, and often give traditions about the origin, reasons, and antiquity of the practice. Such pilgrims are entitled to be called Mahdesi John, Jacob, etc., as the name may be. The pious duty of every good Moslem is to make the pilgrim­ age to Mecca, and many also go to Medina. Thousands go every year and from all parts of the Mohammedan world, even from Tur- SINCLAIR] TATTOOING-ORIENTAL AND GYPSY kestan, India, and the Far East. So here as at Jerusalem it is now as for centuries the custom for all pilgrims to be tattooed, with the date of pilgrimage, name or initials, and holy devices. Some Afri­ cans whose skin is too dark to show tattooing have three gashes made on the right cheek, which were the tribe mark of Mahomet and were borne by him on his cheek. Such a Moslem pilgrim is called in Turkish Httjt, and this word applied hence to such tattooing made in Mecca is now the only word for any tattoo mark. Sometimes I have seen a spot at the root of the thumb of a Turk made when a boy, but he always still applied the word lzaji to it. It is contrary to the Koran to be tat­ tooed, and as the Turks are very stri.ct Mohammedans few are marked otherwise. In Arabic the word for tattoo mark is da' qqa, the root of which means "striking." It is often pronounced da" a, or da' ka. The common people, who are usually the only ones tattooed, know of no other word. There are many other words given in Arabic lexicons, as wasm, mark or brand; washim, z'tntl, etc., some of which are literary, but they are not used as "tattoo" by the people. An Arab pilgrim to Mecca is styled Ha;ji, or Ha;j~ and so are his tattoo devices imprinted there. When asked why they allow themselves to be so marked simply for ornament as so many Moslems are, their answer is: "Before entering Paradise we shall be purified by fire and all these marks will disappear ! " I have examined the tattoo devices on many hundreds of Syrian and Egyptian Arabs as well as other Orientals, heard their stories as to who did it, why, where, the meaning of the designs and the traditions. With them often it is a matter of importance, and they are much interested in the subject. Many of them had traveled in other countries, and everywhere noticed the amount of tattooing, the devices, and the operators. Lane in his admirable work, Man­ ners and Customs of the Modern Egyptians, speaks of tattooing called dakk as common among the lower classes in Egypt, and states it is performed by Gypsy women. A few other writers have cursorily remarked that some Bedouins or other Arabs were tat­ tooed. But I have never seen any publication which gave infor- AMERICAN ANTHROPOLOGIST [N. S., 10, 1908 mation of the fact that all the lower orders in the above named districts were tattooed. or that it was done by Gypsies. Even Wuttke, Joest, and others who had carefully studied the general subject evidently were not aware of these facts as to the Western Orient. Some Europeans who have lived there I find know about it just as the natives all do. But most of them never notice such things, or if they do can give no particulars. There are, of course, almost innumerable books written about these countries. Here we have an important, pregnant fact: An immense terri­ tory populated by millions in which all the poorer class are tattooed, and every person generally with many devices, and particularly the women on many parts of the body. Very few writers have even alluded to any tattooing, and few Europeans know the facts. This neglect by authors to mention the matter and give full details here is an important consideration to be kept in mind when considering the subject in other parts of the world. The difficulties of the most distinguished experts in learning the full, accurate particulars are illustrated well by Marquardt, Die Tiito­ wirung (etc.) in Samoa (1899). He tells us (p. 7) that Prof. von Luschan examined the devices on a troupe of Samoans, consisting of about thirty men and twenty-seven women in Berlin, whom he described in his B eib-ag zur I

II.- CIVILIZED NATIO s The extent of tattooing among the peoples of Europe and North America is much greater than is generally realized. Gypsies are found in all this territory sometimes as now belonging in the differ­ ent countries, and sometimes as wanderers from elsewhere. These facts have led me for many years to investigate this tattooing in the SINCLAIR] TATTOOING-ORIENTAL AND GYPSY various countries by a personal examination of the marks on people tattooed, and by inquiries. The only countries in which I have been able to learn that Gypsies have practised the art are Greece, Italy, and Sweden. In Greece the sailors seen in the Pir~us are generally tattooed. I have seen a few Greeks who have been marked when in the army with military devices, as two cannon crossed, a wreath around them, etc., but it is not a general practice among Greek soldiers. Often prisoners tattoo one another as a pastime in the jails. Among the Greeks generally however there is very little of it. Often bands of Oriental Gypsies are seen in Greece as showmen, etc., and some­ times these offer to and do tattoo some of the peasants. Indeed some country people know the Arab word for tattoo mark, da' ktt. They call these Gypsies Syriti ni. The ordinary Greek work for tattoo­ mark is pltOtograplzt a (cp(l)nvrpar.j;!.a), or mtirka (p.d.pJCa). Some­ times sylt ( auJ.1), scar, and st ma, mark, are used. In Italy, the sailors, porters, etc., in Naples are very generally tattooed. Prisoners everywhere there often are marked by each other in prison, just as in Greece. Otherwise, and except those marked at Loreto, among many hundreds I have not found one tat­ tooed south of Lombardy. The statements of all have been that, ex­ cept as above, Italians do not practise the custom. All are familiar with these Arab Gypsies, who often appear at country fairs, and wander about, and occasionally tattoo a "reckless youth." Some of them had seen this done. The Italian words are retratto (picture), marco (mark), segno (sign), devozione (devotion), tatuaggio. I have usually heard retratto, marco, and de·ZJozione. Among the two hundred Italian fisherman (mostly Sicilians from Messina, Palermo, Catania, etc.) in Boston, not one is tattooed. Lombroso states that there is more in Piedmont and Lombardy where the Keltic element is greater. It is also said that the prac­ tice was formerly general in the Piedmontese army. The Scandinavian (Sweden, Norway, and Denmark) deep-water sailors are certainly ninety percent of them tattooed. It is the tradition among them that the custom is very ancient. One old sea captain stated that his grandfather, also a sea captain, had told him the same. Other Scandinavians never use the practice and can AMERICAN ANTHROPOLOGIST . S., 101 1908 very rarely give the Swedish word tatue' ra, for it. Still, one Swedi h clergyman when a young man had once acted as interpre­ ter in North Sweden when one of the e Arab Gypsies was arrested, since both knew some German. And he saw a young Swede tat­ tooed by this band. The Gyp ies themselves were all much tat­ tooed and were called by the wedes Ara'p£. He had frequently seen similar bands giving shows in the country places under the former King, "who was a jolly old soul and allowed such things more than now." It is clear the Gypsies practise this art in Europe only to a trifling extent. It is not a trade of European Gypsies, except per­ haps in Bosnia and Herzegovina, and somewhat in the Balkan peninsula. All British sailors practically are tattooed. Such is the uni­ versal testimony from exten ive inquiries. It is the rule to write down in a British consul's book a description of all ailors who vi it the office, and note and describe all tattoo marks. An inspection of this book at the Boston office showed only thirty-three percent tattooed. The vice-consul in charge courteously told me of the de­ vices in the Philippines and Japan where he had been for several years, and also of the many British soldiers he had seen tattooed in Bur­ mah. In going out I met six sailors in the entrance hall. All were tattooed, and some most elaborately on arms, chest, back, and legs­ one by Lee the Philadelphia artist. Like every British sailor I have found in America they insisted all had some device. They gave as a reason why so many were not so described in the consul's book: ''They do not like to tell about it." This incident is of little mo­ ment except as illustrating the fact that such records do not disclose the real facts. Some of these sailors had been in the East, and like those of other nations were aware that Gypsies are numerous and do the tattooing in Egypt and Syria. Several had been tat­ tooed there by them, and exhibited such designs. Just as nearly all our naval officers are tattooed in Jerusalem or Japan, so are most of the officers of the British and German and some other navies. This statement probably does not apply to the French and Italian officers from my inquiries. SI CLAIRj TATTOOING-ORIENTAL AND GYPSY

Of the American man-of-war's men certainly ninety percent are tattooed. The same is true of our deep-water sailors, and largely true of the "coasters " and marines. Landsmen think it makes "sea-dogs " of them, and soon submit to the practice. One brave old sea captain, a gallant soldier through our Civil War and orne years in the navy, was not operated on because, as he laughingly said, "it hurts too much." Another, a petty officer in the navy, was not, because when he enlisted a friend showed him a device on his own arm, and warned him, "My boy, that is the blackguard's mark; never let them put it on you." A few, for one reason or another, abstain from the practice. But the custom, example, the ridicule of shipmates, the anxiety "to show nerve," a a pastime, or some­ thing causes nearly all our navy and deep-water sailors to bear orne tattoo marks. This is true of the British, French, German, Scandi­ navian, Italian, and most European navies. I have examined the devices on many hundreds of such sailors, and they always insisted all have some device. As to American fishermen, at the present time of those who sail from Boston, Cape Cod, and vicinity, comparatively few bear devices. They usually estimate the number at ten percent. It is not popular with them. Many of those with designs had it done when on foreign voyages, or coasting. My own inquiries and ob­ servations tend to confirm this estimate. A story is current among the marines "that a millionairess has offered fifty dollars to any marine who has served two terms of en­ listment without being tattooed, and not one yet has been able to claim the prize." The ancient Britons were so elaborately covered with devices pricked into their kins that they abstained from clothing which would conceal these ornaments. Ccesar and several other Roman au­ thors so state. The ea;ly Chri tians in England bore holy devices to such an extent that a council in Northumberland, 787 A. D., prohibited the practice. The old Irish monks tattooed. It has been supposed by some that British tattooing is a relic of the old custom reinforced and made popular among sailors by the discovety of the South Seas and the notoriety of Prince Jolly and other tattooed men 370 AMERICAN ANTHROPOLOGIST [ . s., 10, 1908 exhibited in Eut:ope. Some have thought it was a characteristic of the Keltic race. It is most common in that part of Italy where there is the most Keltic blood. Probably there is more tattooing (apart from sailors) in France than in any other country in Europe. The French word is tatou­ age. Large numbers of French soldiers as well as sailors are so marked. So are a very large proportion of the artisans and mechanics in Paris and other French cities, and it is a common fashion among the grisettes. It is also a common practice in the mountainous district of Auvergne. The charcoal dealers of-Paris are Auvergnats, and are tattooed. The artisans have· as devices the tools of their trade, as a butcher, a cleaver and knife crossed; a cooper, a barrel; carpenter, a saw and hammer, etc. Lacassagne and Lombroso take the view that it is confined mostly to the criminal classes. These certainly are prone to it, but my researches convince me that Joest is right when he states that it is by no means confined to criminals but is widespread among many others. How much there is in this theory that tattooing in England, France, and northern Italy is a survival of an old Keltic custom is difficult to determine. It may be true. In Germany, omitting the sailor class, the practice is in most districts not used. Joest states the same but that in parts of central and southern Germany a good deal is een on the streets and at the public baths. I have found that in Saxony, Hessen Cassel, etc., very many artisans are tattooed just as in France, and many soldiers; and that the tradition among them is that it has been handed down for centuries. Very probably it is an old guild custom. The devices of the French and German landsmen are coarse, rough, and unat­ tractive. Tiitowirung is the German word; also Tatui1"ung, and Tiittouirung. It should be noticed that in Astrakhan Russia the artisans are also tattooed in the same way with their tools of trade. The custom seems to be unknown in Russia generally, except among sailors. The Russian word is tatuirova1nzye. Gl lick thinks that the tattooing of all the Christian girls in a certain district of Bosnia and Herzegovina with sacred designs may have originated in the desire of the Catholic clergy to prevent conversion SINCLAIR] TATTOOING-ORIENTAL AND GYPS} 371 to I lamism. Many of the men, however, also have devices. It may be a survival of the early Christian custom which has happened to persist here. In this very region tattooing was a general practice long before the Christian era, and it may be a relic of this. The prohibition of the Koran would easily account for it absence among the Moslems. Still in the whole region and Albania some bear devices. Many Spanish sailors I have met were tattooed. The Spanish words are pintura, picadura, tatuagg e. There is no apparent influence of the Gypsies on l:!.uropean tat­ tooing, either in patterns, style, or general appearance.

III. - TATTOOING I AMERICA In America the practice appears to be incTeasing. During the Civil War very few of our soldiers were tattooed. Seventy-five percent of the 26th U. . Volunteer Infantry, a Massachu etts regiment, were tattooed, and before they left for the Philippines. In many large cities, as ew York, Philadelphia, Boston, Portland, are professional artists who earn their living by tattooing. From their accounts they have very numerous patrons. Not infrequently the new papers contain articles on the new "fad" among fa hion­ able young ladies. Sometimes even the name of ladies high in the social scale and a sk tch of their tattooed arm are given. Large numbers are operated upon by electricity in dime muse­ ums. vVithin the last sev n years it has become a fashion among the train men of the Maine Central Railroad. In one small dis­ trict in Nova Scotia some time ago, nobody was tattooed. An old sailor came there to live and within a year five hundred men bore the device of his art. The Vega visited the mouth of the Lena on the iberian coa t where the natives were astonished at the tat­ tooing on the sailors' arms, an art unknown to them, but which they much admired. The author describing thi , suggest : "The next visitors will probably find a tattooed colony here and wonder if they invented it themselves!" The number in the United States who do it a boys, or for a lark, or have their name or initials to identify them, is co_nsiderable, much greater than those suspect who have not made a careful and extended study. 372 AMERICAN ANTHROPOLOGIST [N. s., 10, 1908

The practice is rather growing in the civilized world and cer­ tainly is not diminishing in India or the Western Orient. Many Europeans who visit or live in Japan or Burmah seem captivated by the artistic work and bring home elaborate designs imprinted on their bodies. The beauty and elegance of some of this work is marvelous. Thirty or forty years ago I saw the celebrated Greek who was beautifully tattooed in Burmah. His whole body except the soles of his feet was literally covered with devices, all rather small, but the minute and accurate details of every figure were wonderful: serpents, lizards, dragons, birds, flowers, animals, in short almost every conceivable pattern somewhere. He was exhibiting in Boston with Barnum's circus. I visited him several times, and had long talks with him, felt of his arms, legs, body, and did my utmost to detect the imposture I believed it must be. Then I knew little about tattooing. I had heard much of Barnum's humbugs, and supposed this was another. The marvelous story of his captivity by Tartars with three others, all of whom died under the operation, added to my susp1c1ons. I remember him well now. He was a rather large, well-built man who posed on a stand, or barrel, taking artistic pos­ tures when the circus orator described his adventures. The orator always ended his oration with "And he is always much admired by all the ladies," which was sure to " bring down the house." He was dressed simply with a breech-cloth, and an immense solitaire diamond ring which flashed as he gracefully and affectedly handled a cigarette. His hair was worn in long braids, curled and fastened on the top of his head. His true history has been given subsequently by Fletcher, J oest, and others. He evidently had himself tattooed in Burmah for the purpose of exhibition. Seven years ago, in studying jugglers' tricks, I met at Austin and Stone's Museum, Boston, an American juggler and his wife. She was an Indian woman, born in Indian Territory. Her whole body, legs, and arms were covered with devices, rather small and of all sorts. She was exhibited as the most artistic and elaborate work of the North American Indian ever done ! They had been all over Europe and the United States, and had learned French and German abroad. She told me that she had been tattooed for exhibition and SINCLAIR] TA TTOOJN G-ORIEN TAL A N D GYPSY 373 that they had been very successful. Her part was to perform In­ dian jugglers' tricks and also to pose as an Indian prophetess and mind-reader! The work was plainly only the best class of the Am­ erican artists.

IV. -GENERAL ExTENT OF THE PRACTICE Tattooing ha a strange fascination for the crowds who frequent such mu eums, and for the common man ; also for many of the better and educated classes, a well as savages. This fact, appar­ ent to-day, may explain the wide pread of the practice. Whether it be the natives at the mouth of the Lena, a quiet ova Scotia town, Long Branch beach, a large American city, Jerusalem, Japan, or the Philippines, the civilized man as well as the savage seems to be fascinated by the idea. It is said that there is no tat­ tooing in Central Asia, and that it was unknown to the ancient Aryans. It was in vogue among the ancient Chinese and Koreans, but neither practise it now except in southwestern China and as a punishment. After the last Taiping insurrection the surviving rebels were so marked to identify them in ca e of another uprising. The women in the Chinese island Hainan are elaborately tattooed. The Chinese have no special word for it, but use lzleil-ng lzttl or kifm-do't picture, szzt-nti, hand mark, etc. They say it is "bad 1uck." Some Chinese books state that when the Chinese first visited Japan it was inhabited by "tattooed savages." The pictures of the old mythical Japanese heroes often represent them as tattooed. The Geisha girls were formerly all tattooed, but none of them are now. Groom , jinriksha men, and some others of the lower cla ses in Japan did tattoo, and do at the present time, perhaps not so much as formerly, but still the practice is very com­ mon in spite of the efforts of the government to stop it. The com­ mon Japanese word is Ito' rz-1nif no, carving mark. Bunslzt n, another word, reminds one of the old Chinese word venclzin, or ven;i·n, tat­ tooed-man. The Aino, the supposed aborigines of Japan, employ the prac­ tice. All the married women have a moustache, and the lips blue and other devices. Many of the men also bear designs. It was the universal custom among the Tu ngus, Koryaks, 374 AMERICAN ANTHROPOLOGIST [N. S., 10, 190~

Chukchi, and Siberian Eskimo. It was common, at least, in Sag­ halin and Kamchatka, and universal across the Aleutian islands, King island, and the Diomedes, and among all the Eskimo to Greenland. To some extent at least, it was general among nearly all the tribes of North America. It existed on the Isthmus, in Mexico and the Antilles, was in "full swing" in ancient Yucatan, and was practised in ancient Peru, and by very many tribes all over South America, even in Patagonia. Among some tribes of both North and South America it is certain that the whole body was universally covered with elaborate designs. Probably the old Japanese were all tattooed. At all events we find in Japan today the art elaborate and elegant. Going south to Formosa the bodies of all Formosan belles are most beautifully embroidered with artistic designs- flowers, fishes, etc. The highly developed state of the art was univer al certainly among the men in Burmah and Siam, and at least very common in Annam. Among some Philippine tribes it was and is elaborate. The thousands of Pacific islanders tattoo. All the Polynesian tongues stretching from Madagascar to the Sandwich islands have one origin. The canoe voyagers starting from Farther India gradually extended their voyages from one island to another as far as Easter island and Hawaii. Did they sail beyond? They took their language with them, and many evidences tend to show the custom of tattooing. The English word tattoo is derived from the Polynesian word

tatau, common to all the dialects. The root ta means tt to strike." By a common rule of Polynesian frequentative reduplication this becomes tata. The syllable u, which conveys the idea of pricking, is added, making tatau. Often another ta is prefixed to distinguish it from a word tatau having a different significance. So we have tatatau, or tatau =our tattoo, which first appeared in English in Captain Cook's Voyages, I 770. He seems not to have known this word before he heard it in the Pacific, but employed the term " prick­ ing." He spelled it u tattow," which he may have pronounced o, or au, hardly u ( oo ). , The word tabu, or taboo, came with it. Dur­ ing the operation a man was under tabu. These two are said to be the only Polynesian words in the English language. Since, this word tattoo has been adopted in many other European tongues. SINCLAIR] TATTOOING-ORIENTAL AND GYPSY 375

In Natchez and Muskhogee ta also means u to strike." The English word tattoo (but with a different origin) is used for the taps· of a drum. In some Polynesian dialects tata becomes ta' a, almost exactly the Arabic da' a, the root of which is " striking." This Arab din at'ud becomes in Spanish laztd, in English lute. There can be no possible connection between these languages. The example however illustrates the danger of drawing inferences of a common origin from coincidences of words, customs, etc. The Melanesian tongues are supposed by some to have the same origin as the Polynesian. The Papuan and Australian are plainly from a different source. In the Australian the skin is so dark that tattooing does not show well, therefore the practice of raised scars (manka, akotto) was employed, and was elaborate, but coarse, and ·universal. The Papuans (New Guinea) use both forms, color and scars (cicatrices), and both are generally and largely practised. Some of the minute Papuan devices which form the larger de­ signs are identical with those of distant Polynesian islands. The Australian word akotto, or kotto, is also found as the name of Poly­ nesian tattooing, where the instrument is also called kotto. The elegant and universal New Zealand form was termed moko. The art was highly developed and in general use in Borneo. It is said that in Java and Sumatra, where the native skins ate very dark, no form of tattooing is practised. The custom in some of its forms is or has been general, and with a very large number of peoples universal all over Africa. When the skins are too dark to show colors, scarification is used. Tattooing popularly and often in literature includes penetration of the skin by cuts or burns, without dyes as well as with them, and is a convenient general term for the four methods : pricking or scarring in indelible ink, soot, etc., both of which leave the skin smooth; inserting these in cuts, as in New Zealand, thus making a rough surface; and the raised scars of Australia kept open for months by irritating substances, earth, etc., so as to leave finally a wide elevated scar one quarter inch high or more. All along the northern coast of Africa- Tripoli, Tunis, Algiers, and in Morocco -the practice is almost as general as in Egypt. So it AMERICAN ANTHROPOLOGIST . s., 10, 1908 is in Abys inia, the Galla country, Soudan, all through the heart of Africa. Even among the Boers and Zulus in South Africa, who call it s!tat"a, there is a very large use of the practice. The Zulu laborers seen in Cape Town have from one to three gashes several inches long on their cheeks. These are said to be tribe marks. A few only of the most savage, remote, and degraded tribes are reported without the custom. The extent of the practice in India has not generally been un­ der tood. Account of the Nilgherry Hill tribes have been pub­ lished, showing elaborate designs, and that all women must be marked; and also about some other half-savage tribes in India. But educated Europeans who have lived there do not seem to be aware of the fact that tattooing is general. My investigations 'and inquiries from many Hindus and Europeans of the poorer orders who grew up there as boys led me to think such was the fact among women of the lower classes. Recently I have received a printed letter, apparently part of some publication. It begins: "Indian Museum, Calcutta, Jan. 31, 1908. Under instructions from Sir Herbert Risley I send you the information you ask in your letter of Aug. I sth, la t." The first two and one-half quarto pages are devoted to mu ical in truments, referring also to accompanying photographs ; the rest of the letter to tattooing. The following is a brief quotation : " Your informants are correct in stating that tatuing is practi ed in all quarters of India, among the lower clas e . I may add it has filtered among the higher classes, too. It is only an infinitesimal portion of the educated men of India who have been inducing their fair sex to give up the practice. The tribe, the caste, the religious sect, and the profession of the wearer of the mark can often be traced from the symbol selected. Many again are charms; sympathetic magic also plays an important part in the selection of these drawings. For instance, the mark of a scorpion protects one from the bite of that vermin, and a snake from that of a cobra, and so forth. Among the Burmese gun­ shots are tatued to protect from fire-arms ! A Shan thinks he acquire agility by tatuing a cat, or tiger, on his body. The tatuer is often a woman, a professional herbalist, known as Vaz'du in Bombay." SINCL IR] TATTOOING-ORIENTAL AND GYPS J 377

The letter i signed ''B. A. Gupte, Assistant Director of Ethnog­ raphy for India," who states: "I am a Hindu of Bombay," and has attached to it nine immense sheets covered with unpubli bed copies made by him of tattoo marks, and several important mono­ graphs. He also states "Sir. Herbert wrote you in his letter of 28th August, I 902, that as Director of Ethnography for India he started an enquiry into this subject. The result now is that a large collec­ tion of tatu marks has been made by Mr Rose in the Punjab, Capt. Bannerman in Rajputana, Major Luard in Central India, Khan Bahadur Dallal in Baroda, and by me in Bombay, Ootacamund, Vindhyachal, R aichur, and other places." This letter indicates what is perhaps true of much Oriental tattooing everywhere. Some charm, superstition, hope, myth, or something is connected with the devices, especially those on women. What I have already stated as to the extent of the practice in Persia is confirmed by a letter just received from Major P. Moles­ worth Sykes, Meshed, Persia. He writes : "Apparently all Persian women are tattooed," and "that he will investigate more fuliy later on." Moslems of the Punjab have told me that the Mohammedans of that district and Afghanistan do not tattoo because it is contrary to the Koran. Even in Calcutta nearly all the women of the lower classes are tattooed, and professional tattooers are numerous. These frequently board foreign vessels and operate on the sailors. Some of this work I have examined and it is very well done. On one short street in Calcutta, thirty years ago, were thirteen rude bamboo houses much frequented by such sailors for amusement. Among the other inmates were always found, in every house, two or three of these tattoo-experts teady to imprint devices on the visiting sea­ farers. The Hindu words I have heard for tattoo are godna, cltap, pa/ clmz, da' ga; the Afghan word dag, da' ka; the Persian, ' ghali (1/ali), kluil, dctga, dag. The lexicons contain other words also. Shake peare' s Hindustani Dictionary gives " chhapa, sectarial marks repre enting a lotu , trident, etc., delineated on the body by the Vaishnavas, or worshippers of Vishnu "; "stamp, print." This hasty general survey discloses some facts important to notice. First that there is an immense territory filled with hun-

A 1. ANTH ., N . s.,g-25 A llfERICAN A !VTHROPOLOGI. T ( ' · S. 1 101 1908 dreds of million of people most if not nearly a!l of whom are tat­ tooed, viz, India, Per ia, Mesopotamia, Syria, Egypt; and the cu tom reache back to the highest antiquity. From this district it is traced step by step in contiguou countries, or those eparated only by seas, over Farther India, all the outh eas, Australia, Cochin China, China, Japan, northeastern Asia, across Bering strait, the Aleutian islands, all over orth and South America, the Antille , and all over Africa and Europe. Secondly, it is everywhere practically the same art. Details in de­ signs and proce ses may differ. The different peoples simply use the mo t convenient tools for them-what each has, whether steel needles, bamboo needle , fish or bird bones, cactus spines, knives, etc. The dyes everywhere are about the same : oot is the most common, charcoal, India ink, for black; cinnabar for red. orne word for striking, tapping, is the word for the mark and process very generally. There are many little details, as tying the needles together, she ts of pattern , method of work, common in widely distant regions, and so with de ices. The many similarities are so striking often as to prove a common origin. One fagot can be easily broken, but a bundle cannot. Wuttke 1 makes the remark : " o one would be willing to assert that the _custom of tattooing is omething natural and evolved of itself, and on this ground it is general. ... Its origin was in the earlie t, oldest times of the human race, before the wide dis­ persion of man." His masterly work considered all forms of expressing ideas by mark , knot , paint, pictographs, hieroglyphics, etc., except writ­ ten alphabet , embracing the whole known world. The conclu ion of such a agacious, keen, learned scholar on such a subject has weight. Hi chapters on our subject are unsurpassed. Any attempt to di cuss adequately such points and any details is impo sible in this paper. During my Oriental studies for years one thing has impressed me: the easy mean by which mu ical instruments, game , tricks, etc., and particularly tattooing, can be and has been spread. I have found a very large number of instances of borrowing when at first sight thi seemed impossible. But I

I D ie E nstehung der Sch?'ift, p. 96. SI CLAIR] TATTOOING-ORIENTAL A D GYPSY . 379 have never learned of a single ca e in which tattooing wa clearly an independent invention.

V. -DEVIC The religiou d vices in Jerusalem are varied, as t George on horseback with a long pear, the vanqui hed drag non the ground before him ; Chri t on the Cros ; a copy of the ilver crucifix v orn by Greek prie ts; the Virgin Mary holding the infant J us; eter and the crowing cock; reek churches, candelabra, incens 1 mps, eros es; the infant Je us with angel gazing on him from the cloud , and a great variety of other Biblical subject . The name or initials, and date of pilgrimage are added. ften both arm and hand are covered with several such patterns according to the wi he of the pilgrim, and the remuneration. The e religious devices are in imitation of a very ancient prac­ tice. It wa forbidden in Lev. IX, 28 : "Ye hall not make any cuttings in your fie h for the dead, nor print any mark up n you." Isaiah XLIX, I6: "I have graven thee on th palm of my hand ." Cutting the fie h was a common mode of ex pre ing grief, ranger, just as it is in the South ea and among our Indian today. It is mentioned as a cu tom in I Kings, XVIH, 28. The prie t of Baal cut themselves "with knives and lancets until the blo d gu bed ut upon them." So Jeremiah, XVI, 6; XLI, 5 ; XLVII, 5 . ' L III, 37; Lev. XXI, 5 ; Deut. XIV, I. St Paul wrote (Gal. VI, I 7) : 11 From henceforth let no man trouble me, for I bear on my body the mark of the Lord Jesu ." Rev. XIII, I 6, I 7 : " ... a mark on their right hand, or on their foreheads." The Phenician worshippers of the Moon god de had consecration mark imprinted on their necks and wrists. The·early hristians followed the practice, some claiming miraculou devic s. The early estorian missionaries carried the custom with them to China. In 72 5 A. . the Arabs compelled every Copt monk to wear n hi right hand the mark of a lion, or it was cut off. oon ev ry pt bore this device. The Emperor Theophilus tattooed the [I rch ad of two Christian martyrs with ribald verses. The tattooing at Loreto is probably a relic of thi old religi u cu tom. The pilgrims devote themselve to the anta Donna, AMERiCA N ANTHROPOLOGIS T [ . S., 101 1908 hence the word for their devices, devozio1Ze. The myth as told me is that the acred image was transported with the Sa1Zta Casa (chapel) through the air from Egypt (some said yria) by an army of angels to Loreto (from Law-eta) near Ancona. The e images are sold everywhere in Italy and alway with a black face like the Madonna. Thousands make the pilgrimage from all parts of the country every year, e pecially in September, when the railroads reduce fares to one third. Many go on foot, and barefooted, a more devotional. All are tattooed there with pious symbols and by old women who are found in booth or little shops. Many miraculous cures are believed to be wrought at this shrine. The word "cro s" is applied to the sacred tattooing in Bosnia. Here also is a famous shrine, which by tradition wa carried by angel over the river to escape the Turks, and back again when they retired. All the Catholic girls in parts of Bosnia and Herze­ govina are elaborately tattooed on Sundays in the churchyard with religious symbols elegantly done, and by a Gypsy-like class of women. All these simple pilgrims and people seem to feel as St Paul did, that they bear on their bodies the "marks of Christ." They regard them with reverence and comfort, and some a a protection. The ordinary patterns in the Western Orient are trees, ftmvers, leave , wreaths, swords, imitars, daggers (often piercing a heart and drop of blood as seen on the walls of Pompeii), knives, crescents, star , dots, all kinds of animals, fishes, one figure a fish with mouth open ready to catch a worm-bait, arrows, wreaths, garland , bracelets, geometrical figures, lines, crosses, circle , etc. Moslem women often have forehead, temples, cheeks, chin, lips, breasts, abdomen, arms, legs, and back much tattooed: lines on the lips and chin, a star on each breast, in the center a date-palm tree, emblem of fertility. Several Syrian ladies of Tripoli informed me that all the Mo lem women there of the lower classes had these vertical lines on the chin, one at each corner of the mouth and one in the center. Wuttke calls attention to these same three lines on the chins of Egyptian women and Eskimo women. A few years ago many negro slave women in yria and Turkey bore three huge gashes on each cheek, their only marks. SI CLAIR] TATTOOING-ORIENTAL AND GYPSY

Persian women have marks on forehead, star on temple, devices on back of hands, and on arm , brea t , calves, such as bird , garlands of flowers, violet wreaths around navel,. etc. The wive of Luri Kurdish chief: are tattooed with fronds on the throat, three stars on the chin, one in the center of the fore­ head, and other devices on hands, arms, and body. Mr Bishop, 1 speaking of the Bagdad district, r mark : "All Bedouin women are tattooed. There are arti t. here who live by tattooing. Flower on the bo om linked by a blue chain, palm frond on throat, tars on brow and chin, bands around the wrists and ankle ." The e arti ts are Gypsies, who are also the people's doctors in Baa-dad. They are e n at regular easons in the market places with their herbs and remedie pread out before them, or peddling these about the street . The. people there have great faith in these Gypsy healer and wait for their arrival. ften th y treat certain troubles by burning the kin with a hot nail, or an iron, which leaves a car. So the Arab dancing-girl cia s burn their skin in variou ·parts of the body with cigarettes. Hence many Arabs have scars. Often Syrians burn the top of the head for weak eye , and o many show scars there an inch or more in diameter. Curiously the e same cars are very common in the arne pot among the tribes of Kafiristan, and made for the same reason. The trade ign of the Egyptian Gyp y dancing-girl is three round spots on the chin, forming a triangle. In Per ia, in addition to those already mentioned, the sun, sunbeams, lions, are favorite devices. Mo t Gypsy tattooing is arti tic and well done, some of it beau­ tifully. The religi us device at Loreto Italy, and in Bo nia al o how fine work. Those in Bo nia are probably made by Gyp ie . With the e exceptions all " uropean de igns ar een at a glance to be inferior to those of the Oriental Gypsy. Much of it is extremely coar e and unattractiv . The most elegant work i done in Japan and Burmah. ext come the Marquesas, amoa, Iew Z aland, and other outh Sea i lands. That of the Haida Indian of Qu en Charlotte i land is elaborate, and finely wrought, by far the best of any in the America . There are certain peculiarities and char-

1 Persia, vol. T, p. 34· AMERICAN ANTHROPOLOGIST ' (N. S., IO, 1908 acteri tics in different districts, not only in pattern but in other par­ ticulars - the parts of the body marked, and the general appearance and impression of the whole work, which are noticeable. The tattooing of the Western Orient that is done by Gypsies all is similar and has the same general character. It is distinctly different from the work elsewhere in the Far East as well as in Europe and America, although all may and do have some simple figures the same, and in the same spot on the body, as a round spot on the forehead, three vertical lines on the chin, etc. The ' ork of Burmah, Siam, Hainan, and Formosa, sugge t that of Japan. That in most of the outh ea i lands has many peculiar­ ities in designs a well as otherwise which make a common origin certain. Haida tattooing suggests in figure and character that of some of the Polynesian islands, -the broad lines, split fishes, rep­ tiles, birds, etc.,- and also reminds of the old Mexican art. It is by no means sure that a careful, patient study of the ubject­ work, details, process, figure , myth , meaning of devices, parts of body, etc., would not shed light on interesting and puzzling ques­ tions. VI. - ME NJNG It has often been said in regard to the tattooing of the outh Seas that every mark, every device has a name and a meaning. This is undoubtedly true, and al o as to their body painting. Some of these name and meanings are known, but to learn and under­ stand them all or many of th~m is here, as everywhere, a difficult task requiring time, opportunity, equipment, and long patient study. The ignificance of many handed down for centuries, or borrowed, has been lost, but there is enough left to repay careful scrutiny. These primitive savages have retained such meanings to an extent that a consideration of them here may present uggestions elsewhere. Certain patterns indicate rank, title, position. slaves, subjects, tribe, societies, clubs, name signature (as moko), warlike deeds, number of enemies or whales killed, maturity of girls and boys, occu­ pation- as whaler, house-builder, dancer, tattooer, priest- dance­ place building, household work, warrior, adopted brotherhood, married women, a social fea t, husband's achievements, children, signs of mourning, marks for the dead, brand of disgrace or crime, SINCLAIR] TATTOOING-ORIENTAL AND GYPSY

charms against evil spirits, serpents, animals, reptiles, insects- to make invisible to an enemy, render him powerless, or terrify him­ moustaches, beard , the un (concentric circles) ; to captivate the other sex, not subject to "tabu," a magical or upernatural power, etc. The same devices are often seen in house and other post , canoes, weapons, utensils, etc. There are small, often minute, devices of various kinds which are employed to outline and fill up larger compound designs. The simple marks are straight lines, stripes varying in width ; curved, wavy, zigzag, winding lines; spirals, volute , triangles, hooks, bands, circles, emicircles, horse hoe , T's, Y' , feather edges, saw­ teeth edges, minute star , dots, two or three parallel lines, etc. The compound figures are fishes, reptile , fabulous birds, drag­ ons, demons, men, plants, foliage, trees, tortoises, animals, insects, feather , leave , teeth, magic knot , geometrical figures, flowers, rings, bracelets, anklets, necklaces, moustaches, beards, horns, nets, ladders, ·grates, crosse , round spots, concentric circles often with cross line , parallel lines,. stars of various styles, diamonds, squares, rectangle , checker-boards, rosettes, breast-plates, etc. Sometimes on islands where everybody is elaborately covered, some, as the priests, have only one small rectangle over the right eye. The most minute mark therefore should always be noted. A few examples must suffice here. Some of the best illustra­ tions of meaning are found in a recent wor~, Dreissig jaltre i1t der S udsee, by R. Parkinson, edited by Dr B. Ankerman, 1907. Paint­ ing of the body i a widespread custom, by many thought to be the forerunner of tattooing, which is merely the pricking in of color to make it permanent. The natives of the Gazelle peninsula, N eu­ Pommern, often paint the face with soot mixed with oil. This soot i the same and made from the same nut a that used in tattooing. The whole subject of body paint is intimately connected with the latter and deserves an article by itself. A certain stripe on the right breast, shoulder, and arm is called -meme, 11 lightning." It gives the warrior' arm a surer aim. The whole lower face black is pap, 11 hound," and causes the pursued enemy to stumble in fright and to fall when he hears the pursuer AMERICAN ANTHROPOLOGIST [N. S., 10, 1908 breathing loud like a hunting dog. A black ring round the right eye and a red one round the left is kotkot, "crow." One pattern is called m:inigulai, ' hawk," and both are believed to give certain powers to the wearer . Their painting is elaborate, and " every stripe and spot has a name and signification." Tattooing does not show well on their dark brown skin, and plays a small role. So the artistic warrior wig, called wardodo, or ka ai 1. ai, enables the ~arrior to approach his victims un een. The faces and parts of the bodies of an assemblage of dancers who take part in many festivities in India and Farther India are often painted in an extraordinary manner. In Persia the ladies "paint and fix themselves up in all the even colors of the rainbow," as they express it. The practice has by no means dif;appeared in the civilized world, where rouge and blanc and a tiny black patch are by no means rare. The black patch would seem to be the same as that of the Persian belle , who call. it a ''mole.'' The Persian word k!tal (mole) is a common name for tattoo mark. The tattooing, feather head-dresses, body painting, dances, ele­ gantly made and engraved round shell gorgets, the shell money and basketry of some Pacific i lands, are a fascinating study for one interested in the North American Indians. The first superficial reading of Parkinson and other works often surprise by similarities in all these subjects. A connection between the two seems impos­ sible, but all are worthy of careful study. The resemblance are more striking and greater than in the same things in Africa. Almost everything among these islanders seems to be a charm, have magic power, or be intimately bound up with mysticism and the supernatural. J oest, Kubary, Parkinson, and others are inclined to the view that tattooing is not religious but simply esthetic, ornament, to please the other sex. They would seem to be right as to the punialo ("pond to catch fish") on the abdomen of the Samoan women, and the fa' a' upega, " fish net" on the same place on men. Both are large elaborate figures. Joest (Kubary), p. 86, describes the operation on Nukahiva girls at maturity. Groups of five or ten girls pass three months in SIN LAIR] TATTOOING-ORIENTAL AND GYPSY temples before it is done. On the appointed day the operator, on the beach before the whole village people, quickly makes the triangle on her person. The priest who superintends covers the parts with three stones, and her brea ts with a triangular tortoise-shell cover­ ing. After three days the drawing heals and she can leave the temple. Then follow races, wrestling, festivities, etc. All this can hardly be denominated mere ornament, and the larger part of the Pacific designs seem to confirm the opinion of Wuttke and other that they are much more than esthetic. The triangle is an exceedingly common figure, both in small and large designs. The Radak islanders have a triangle, point at navel, then aero s the breast, and the other two points at the shoulders, etc. The Sandwich islands and Tahiti both had the same large ba - ket pattern design. The tattoo implements of Tahiti and Samoa, thirteen hundred miles apart, are exactly the same. The peculiar appearance given the Papuan girls by a certain use of a small line is duplicated in the eu-Pommern districts. Scarification, found among the Maori and Marquesas, is in the re t of Poly~e ia occu­ pied by the ornamental moxa scars. A part of the dried rib of a coconut leaf, a quarter of an inch long, is inserted into the skin. The free end is lighted and blown out just as the flame reaches the skin. The remnant is consumed as a glowing ember and leave a scar. These are arranged in various ornamental lines. A design consisting of two rows of saw-teeth on long lines, one superimposed on the other, is common in amoa, and al o is found on the pears in New Hannover; it probably mean "whale­ diver." Pelau is distant from Samoa forty-four hundred miles, yet a large number of the small marks, particularly those which make up the larger drawing , are the same, and they are too numerous to be accidental. Inspection at once hov s this.

Co rcLu ro ' In order to tudy the subject carefully, to make comparisons and draw correct inferences, certain details are important: (a) The per­ centage of people tattooed, and of each sex. (b) Many or few devices AMERICAN ANTHROPOLOGIST [N. S., 10l 1908

on each person. (c) On what parts of the body. (d) General de­ scriptions of the marks, simple and compound. (e) The mean­ ing of each and whether religious, ceremonial, tribal, sac­ rificial; showing marriage, puberty, rank, warlike or other achieve­ ment, servitude, disgrace, a charm again t disease, evil spirits, wounds, etc., a trade mark, or to fascinate the other sex, to insure a good husband, children, ornament, etc. (f) The native words for tattoo, and the various marks and their significance. (g) Antiq· uity of the practice; if borrowed, when and whence. (lz) Traditions and myths about the origin, meaning, use. (i) Description of the process, and ceremonies, if any. (j) Are the same devices found on pottery, skins, canoes, implements, weapons, trees, posts, houses, rocks, etc. (k) Time, patience, the confidence of natives, and in­ quiries of many willing to talk are needed. It is impossible to treat the questions here except in a general way and to make suggestions. The subject is a large one which will repay thorough study and careful thought. The most impressive point, perhaps, is that the art is spread over nearly the whole of the known world and is similar everywhere. As Wuttke (p. 96) so well expresses it, " In the execution and devices noticeable agreements occur which, as well as the variations, might be accidental. The amazing sameness in the essential part (Hauptsache) remains."

ALLSTON ( BoSTO ) , MASSACHU ETTS. -,;. 1'rLof #-~ £ ~~ ' '~'I /tv~ a '1"'' ~ ~ ~ ~ c..L ~ Jzf . r.~ I ~~/f. lmusical instrument, a lute fairs (like Tanta) in Egypt to-day. Everybody goes for the fun, the revelry, the music, the showmen, the singing and dancing girls. ("_,..cJf), al'ud, a tambourine, castanets, a hand drum, etc. All the When did this old cast of musicians and dancers die out entirely, girls and women sing, play, and dance, but only at home. The boys and the present Gypsies monopolize their place? and men too often take part in these pastimes. For several years I have been endeavoring to consider these prob­ The Gypsies number in Egypt about 40,000, in Asiatic Turkey lems and compare the Gypsy music in different countries with one 6o,ooo, and, according to Major Sykes ("Ten Thousand Miles in another, and also with Arab and Persian music, and likewise certain Persia," p. 438), roo,ooo in Persia. In Hungary and the Balkan characteristic Gypsy musical instruments. peninsula are soo,ooo Gypsies, and in the rest of Europe roo,ooo. The music of the Hungarian Gypsies I have been fascinated by, VOL. XX. - NO. 76. 2 18 :Journal of Amerz'can Folk-Lore. Gypsy and Orz'ental Mus£c. day after day and evening after evening, and for months at a time, Then there is an absence of modulation, peculiar intervals we do in Hungary. Here they play it with a devotion, a fire, a passion, a not use, characteristic rhythms, elaborate ornamentation, quarter love not heard anywhere else. They are the national musicians of tones, common to both and absent in our music; so great variety Hungary, admired and petted. One evening (the 30th of December) and sudden changes and transitions in time and rhythm, and from I heard such an orchestra perform at my hotel. The next evening one note to another very distant. Then the unusual extreme pro­ was New Year's eve. On the heights of Ofen in the old castle in longation of tones in songs by Russian Gypsies and others is one of Buda was held the grand annual ball of the Emperor and the most the most extraordinary and striking features of Persian and Arab aristocratic court in Europe. All the beauties and the magnates and singers. Europeans have nothing like it. They execute the Oriental nobility of Hungary were there. So was the Gypsy orchestra, who trill on one note, embellish. it with most florid ornamentations' turns, played the night before at the Jagerhorn. No court ball is ever held grace notes, arpeggws, using quarter tones, with a most striking in Hungary without one of their Gypsy bands. Every little village effect. Such notes at times seem to be held for minutes · so with has one. For every marriage, dance, or feast, the band is called in, Oriental lute-players and other musicians, it is these wond~rful and and this means simply the Gypsies. complicated embellishments which delight their hearers as much as, Gypsy music has been developed by the Hungarian Gypsies to a or perhaps often more than, the melodies themselves. higher state of perfection, both in their compositions and execu­ The ornamentation of the Hungarian Gypsies is so luxuriant as tion, than anywhere else in the world. Conditions here have to distract attention from the airs. It is like a vigorous tree, cov­ favored them more than elsewhere. Here their music is now soft, ered by a thick foliage and with beautiful vines and flowering and sweet, weird, wailing, and now bursting forth suddenly in the fierce, creeping plants which nearly conceal even the trunk itself from view. wild, fiery strains of a battle song or Csardas. As a vocal art, music The theme is there. It is in itself grand and impressive, but it is is but little cultivated by them as it is in Russia, Spain, and the sometimes entirely covered up by the richest and most beautiful Orient. Many of the violinists equal in technique the best violin fioritures, musical vines and flowers. virtuosos. Some of the most famous violin performers have been The two leading instruments of Hungarian Gypsy orchestras are Gypsies, as Remenyi. -, , the violin and tzim bal. Generally the violin plays the melody, but often The Russian Gypsy songs like "Ochi charnlya," "Black eyes," are also the tzimbal. All the other instruments, second violin, viola, 'cello, sung by everybody in Moscow. Here in Gypsy music and songs we and contra-bass, simply support these. The tzimbal itself is played less often hear the fiery, warlike character of the Hungarian. Still with wonderful dexterity and the rapidity of a prestidigateur. The in the midnight revels of the aristocratic Russian bloods the singing tzimbal-player will not only perform the air, but at the same time an and dancing of the Gypsy performers grow wild and furious. accompaniment, as if by several instruments. With his hammers, In southern Russia, Rumania, and the Slav countries south of one in each hand, he strikes one note after another so rapidly as to the Danube their music is quieter and less wild. produce the effect of full chords, and all sorts of embellishments as Still everywhere in Europe to my ear there are certain peculiar arpeggios, trills, turns, etc. The effect of all these instruments sup­ characteristics common to Gypsy music, and also common to Persian porting the leading violin is peculiar. He turns to them, starts up and Arab music. I say, to my ear, for I find the subject has been a strain to indicate the piece to be played, and they all at once take but little investigated, so far as known. up the strain and follow him. His improvisations are most intricate So it seems to me there are certain peculiarities of body move­ and elaborate. Yet they harmonize with him, often with many em­ ments, steps, and rhythm common to Gypsy dances, Spanish dances bellishments themselves, particularly the tzimbal, which is always of the bolero kind, the South Italian tarantella, and the Oriental most elaborate in its performances. dances of Egypt and Western Asia. But there is always perfect harmony and the most fascinating and To describe such characteristics exactly by words is exceedingly beautiful and fantastic musical effects. Sometimes the European difficult. Musicians can at once distinguish French, Italian, German, cultivated musician suspects discords or even mistakes in execution. Spanish, English, Scotch music. All are much more similar to one But there are none. All he notices are musical effects new to him , another than to Gypsy or Oriental music. The general impression just as he finds them in all Oriental music. and effect of these last two are a very important element in deciding Exactly in what the harmony of the Gypsies consists and what upon similarities. it is, are often very difficult to discover. Perhaps other i~struments 20 'Journal of A mer£can Folk-Lore. Gypsy and Or£ental Mus£c. 21 than the violin are, so to speak, playing melodies of their own which harmonize with the principal air. Exactly what the Arab scale and modes are seems to be uncertain to So it is with Oriental music. Its harmony, or what takes the place us. Writers on the subject differ, and, except Villoteau, no one has of harmony, performed by the accompanying instruments, is a most investigated the subject much by studying the Arab music from and difficult subject to consider. with Arabs. It is a difficult task. Such matters require a long, patient, and careful study under To my ear. Gypsy and Arab .music always seemed harmonious , favorable circumstances by scientists thoroughly competent, enthu­ sweet, melodwus, and not at all d1scordan t, and founded on the same siasts, and well equipped for the task. Nobody appears ever to have diatonic scale, so to speak, as our own. I say diatonic scale for lack gone into the subject in that way. of a better word. They use our notes, C, D, E, F, G, A, B, C, ex­ Even Liszt, scholar, great composer, and pianist, as he was, who actly, with smaller intervals between them than our sharps and flats. had made a life study of Gypsy music, did not succeed in unravelling They would not compose a melody in the diatonic scale, but would such questions. It was his view that Gypsy music clearly was from always use some of these notes as the basis and then other acciden­ the Orient, and that a careful investigation of Hindu and Arab music tal notes to form a mode upon and in which the melody is composed. would conclusively prove this to be the case. There are about thirty-six of such modes, all differing from one another. Hungarian Gypsies employ various scales or modes not used in The intervals between two succeeding notes in a mode are often our music ; for example, C, D, Et~, F#, G, Al7, B, c. They employ different from ours and more like the Gypsy intervals. For example, in the minor scale the augmented fourth, the diminished sixth, and C to D# and D# to F#. the augmented seventh. Frequently also they use the diminished Wri~e.rs differ as to what the Arab scale actually is. The best seventh and the dominant with an augmented fifth. Arab music ~uthont~es, I:and and :-vallaschek (" A nfange der Tonkunst "), say it contains these same peculiarities. IS our d1atomc scale w1th smaller intervals (quarter tones) between the notes. Wallaschek claims that the notes of the buo-le C E The common impression in Europe is that Arabic music is dis­ 0 ' , ' cordant and unattractive. There are several reasons for this view. G, c, the Harmonic Triad (Dreiklang), is the basis of all music, One is that Europeans rarely hear good Oriental music. European, Oriental, and barbaric, as fo unded on nature, on the natu­ The music of the Dervishes at Kara Hissar is most beautiful ; ral laws of nature's harmonics. As stated above, this was the con­ simply flutes and voices. Lane ("Manners and Customs of the clusion I came to from simply hearing Arab music, before I had Modern Egyptians") states that the singing of some of the Egyptian studied writers on the subject. The first books I read intimated a Almehs was the most beautiful music he ever heard. The Muezzin's contrary opinion, and I supposed my ear must be at fault. Since I Call to Prayer in the same book is often copied and admired. Arab have made many tests and experiments with Arabs on the lutes music has appealed to some of the greatest composers, who have ( !)~) and with voices. Some were educated in European music. elaborated it in some of their finest works. As examples can be Most of them knew nothing whatever about our music, and nothing mentioned: Mozart's "Seraglio," some of his opera "l'Oca del about the theory of Arab music. Arabs perform entirely by ear and Cairo," the "Alia Turca" of his piano sonata in A major; Beetho­ have no system of notation to write down their music. Although ven's "Ruins of Athens," with its Turkish march and dance of Der­ many played and sang beautifully, they knew no more about notes vishes; Von Weber's opera "Oberon;" Cherubini's "Abencereges or what they did or why they did it than a child when he sings. and Ali Baba; '' Boieldieu's "Caliph of Bagdad;" Glinka's opera, All thus far have insisted to me that their notes are exactly the "Ruslan and Ludmila," third act Persian Gypsy music; Rubenstein's same as ours, with small intervals between them ; that they simply twelve Persian Gypsy songs; Meyerbeer in "Les Huguenots." use different intervals and modes. This, of course, is my conclusion Felicien David's "Le Desert" is characteristic Arab music, elab­ from what they say, and many tests of lute and violin, and a few orated from melodies he heard on his journey with a caravan from times with a piano. They do not, however, employ our tempered Cairo to Algiers. . These Arab airs are sweet, melodious, beautiful, scale, but all the notes true. ?rand. I cannot refer to a better collection as illustrating my mean­ I have been much puzzled on the subject, and do not feel sure I mg, and I know by hearing them that very many of the Arab and am right in my view. It is a very difficult problem, and requires other Oriental melodies are as beautiful as these. much time, study, ~nd patience, and favorable opportunities. Very little is known to Europeans about Arab music or its system. One thing I am satisfied about. The Hungarian and Spanish Gypsy music have the same peculiar characteristics, whatever they 24 :Journal of Amer£can Folk-Lore. Gypsy and Or£ental Mus£c. in their arts, poetry, and music. Their tastes are refined and ele­ It is often stated that all old folk-songs were originally dance gant, as we see in their architecture, literature, and poetry. The tunes. Certainly such songs and music and the dance have always beautiful Oriental rugs show bold, beautiful, fascinating designs and been closely associated. Many Spanish dances, as the Bolero, Fan­ combinations of color, unapproachable by Occidentals. They are as dango, Sequidilla, Malaguefia, always seemed to me to be of Oriental varied, complex, elaborate, brilliant, gorgeous, startling in their effects origin. Saraband, the name of one Spanish dance, is a Persian word. as Oriental music. So with their architecture. Yet all is harmony Every rug connoisseur knows the beautiful Saraband Persian rug and beauty. It is hard to believe that their music can be an excep­ with the pear-shaped figures, its border, and fine predominating tion to their other arts. I do not think it is. The musician, the reddish color. scientist, must not judge Oriental music from the nasal, throaty The Hungarian Csardas is similar to one of the Gypsy dances twanging of a laborer or poor singer. Many of the Syrians have poor there. It lias a peculiar step (knocking the heels together) which is voices. They sing in the throat and through the nose. What would found in some Oriental dances. "Nobody can play or dance the an Arab decide our music and scale to be from the wheezy song of a Csardas like the Gypsies themselves." So good an authority as hod-carrier, or even the phonographic melody of a commonplace Liszt ventures this statement. singer? All the Gypsy dances of Europe strongly resemble Oriental dances. Some of our own prima donnas even do not always sing true, espe­ The question in all these cases is, Did the Gypsies bring these cially in their trills and embellishments, when the orchestra does not dances with them, or find them there and adopt them ? The same follow them. They use a three eighths or quarter tone instead of a question arises as to Persia, Syria, and Egypt. half tone. Whether they do this intuitively for an effect which pleases The Badminton volume on Dancing (p. 213) states: "The Orien­ their ear, as it does thr Oriental ear, may be a question. Our best vio­ tal style of dancing, which was practised from the earliest times in the linists make a difference between F ~ and G". The old spinet played East, and even in Europe by a class of women who, if not absolutely sharps and flats differently. It is our tempered scale for keyed proved to be Gypsies, had, at any rate, many points of resemblance instruments which has made these alike in classical music. to them. Thus the 'Syrian girl who haunts the taverns round,' For many years I have been studying the Gypsies, their language, described by Virgil (?) suggests the Syrian and Egyptian dancer, habits, trades, occupations, origin, devoting much of my time to who is of Indo-Persian, that is to say, of Luri, or Gypsy origin. Oriental Gypsies, about whom very little is known or found in books. Spanish girls of old times were conjectured to have come from the The conclusions given above have been formed upon my own inves­ universal Hindoo-Romany stock." tigations, and not from what I have read. Since forming them I have The Badminton volume quotes Walter Thornbury ("Life in somewhat carefully studied what Liszt, Colocci, Engel, Dr. Parry, Spain") : "Seville is the headquarters of the Gypsy musician and Naumann, Rowbotham, Wallaschek, and others have written, and I dancer. Make way for the Gypsy girl who is going to show us how see no reason to change my views. the Egyptian ghawassees and the Hindoo nautch girls dance. She Liszt ("Des Bohemiens ") has impressed me more than all. I can will dance the Romalis, which is the dance Tiberius may have seen, see he knew Gypsies and Gypsy music. Familiar with them in his and which no one but a Gypsy dances in Spain. She will dance it boyhood, he almost lived with them for two years when he had be­ to the old Oriental music, and handclapping, to a--tune-- full of come one of the greatest pianists the world has ever seen. In Hun­ sudden pauses, which are strange and startling." Also from various gary repeatedly (once for five months) I practically lived with them, authors concerning Gypsies who danced at the head of processions ate with them, associated with them intimately, and talked every­ wearing little bells, in honor of Orleans princes in Spain, and also thing over with them in the (Rominf chib) Romany tongue. They Louis XIV and Philip V. An old Niederlandisch saga speaks of received and treated me as a Romany brother from America. Liszt "a troupe of Gypsies who danced very high on a tight rope. They studied, understood, and described Gypsy music as no one but a gave powders to a boy, and he then danced over the tops of trees and great musician can. His views to me are convincing. They bring on the weathercock of the church tower." "English Gypsies wore back to me so vividly and clearly the little details of their music, bells in the sixteenth century," and "were pleasant dancers ; " so which I never could fully understand and dissect or explain in my also early in Scotland. "The English Morris dance is said to be own mind. There were many "somethings " indefinable, puzzling. inspired by Gypsies." "The Syrian dancers at the beginning of the Some of these Liszt has explained. Christian era are well represented by Salome." " Under A ugnstus :Journal of A merz"can Folk-Lore. Gypsy and Oriental Musz"c. dancers were very popular. Three thousandforezgn women dancers now are very strict in regulating their presence and conduct. They were kept in Rome. When public expenses were cut learned men are also often seen in Greece, Turkey, and parts of Austria, and were dismissed, but the three thousand dancers were retained." Were sometimes in Switzerland. these Syrian girls ? " Later the character of the dancers became so Naumann ("History of Music," p. 226) says of these showmen of low as to be condemned by Cato and Cicero." "The old English the Middle Ages: "In France, especially Provence and Normandy, minstrels, gleemen, sung, danced, joked, and tumbled like the Nor­ they were Jongleurs and Menestriers, men who were indifferently man jongleurs. They tossed balls and knives." Chaucer speaks of buffoons, rope-dancers, or musicians, and also reciters of fables and "the dancing-girls, minstrels, jongleurs, tumblers." Martial, Juvenal, stories, who accompanied their recitals with music. In England and other authors describe the dances of the Cadiz dancing-girls called Minstrels." just as they are in Spain and Egypt to-day. So Pliny describes them Most English readers are accustomed to think of Gypsies simply in Rome, the Gades dance. In medireval England, "besides music as fortune-tellers, horse traders, horse doctors, tinkers, metal workers, and dancing, the minstrels, or gleemen, performed tricks and jokes;" and makers and sellers of baskets, child stealers, rogues, and cheats. "the dancing of the gleemen consisted largely of vaulting and tum­ Scholars have devoted themselves principally to their language as bling ; " "another trick was keeping knives and balls in the air ; " the most similar to the Old Sanskrit of any living tongue. My own "Morris dance means a Moorish dance." view has been that to solve the Gypsy enigma we must study other In the eleventh and twelfth centuries, indeed before and after, occupations. Very little has been known about Oriental Gypsies, during the Middle Ages, France, Germany, Italy, Spain, and Eng­ and we have not had the material necessary to pursue this study. land saw large nm11bers of wandering mountebanks, jugglers, and Much of what I have already written is known to but very few, and other showmen, story-tellers, players, all accompanying their per­ some of it is entirely new to scholars. formances with musical instruments, singing, and dancing. In Ger­ One other occupation already ment ioned may bring much light on many this class were considered vagrants and tramps. the subject. It is that of showmen, and can be treated well in con­ In Italy were many of these travelling showmen, who traversed nection with their music, since these are nearly always accompanied the country exhibiting camels, monkeys, and dancing bears, jugglers, by musicians. tight-rope walkers, etc. To-day bands of Oriental Gypsies frequent History tells us that there were many Gypsy musicians, singers, the fairs and country districts of southern Italy. They play, dance, and dancers in Persia in the fifth century, and they have been there sing, perform acrobatic feats, are rope-dancers, toss balls and knives, ever since. They were and are called Liili or Luri. walk on stilts, and do other jugglers' tricks ; give Punch and Judy In southeast Europe there are historical references to Gypsies shows, and have with them performing bears, monkeys, and other certainly as early as the tenth century. The first notice on record animals. They also tattoo, and sell various small articles. The about Gypsies in western Europe is early in the fifteenth century, peasantry of this district are most familiar with them, and have when they rapidly spread over the country in large bands, gayly often described the Zingari to me even down to the minute details. attired, under their counts and dukes . . So many have told me some of their dances are just like the taran­ Whether there were any Gypsies there before and for how long tella, and "they make their feet go so fast you can hardly see them." are interesting questions. They have always had the habit of roam­ Some of these Gypsies I have seen in Italy myself. But in such ing over extensive distances. I have met many Gypsy bands who matters inquiry from a very large number of natives in different travelled over a great part of Europe, others who have wandered over districts gives the most important information. They see them for the whole Caucasus, and been in Egypt, Persia, and Syria. Some years and know all about them and their shows, and they are mostly even had travelled across Siberia to the Pacific. In the United States seen in the out-of-the-way places. The police always keep them many Gypsies have been in nearly every State of the Union. It moving. It is difficult for a stranger to find them. Their women was always so with them. Naturally they would have roved over and children are always with them, and they camp out on the out­ Europe long before books speak of them unless there was some skirts of the town. reason sufficient to prevent it. I know of no such reason. How old These same Arab Gypsies are also occasionally seen in Switzer­ the Gypsy race is nobody knows. Their language I cannot discuss land, the Tyrol, and France, at fairs in the country. In former times here. I speak it; have devoted much time to its study and that of they were much more frequent visitors than to-day. The authorities several Oriental languages to which it is akin. The Gypsy tongue Gypsy and Or£ental MusZ:c. :Journal of A mer£can Folk-Lore. Oriental Gypsy showmen to-day are buffoons, "funny men," story­ does not preclude a much older origin than is generally supposed. I tellers, and recite poems and fables to the accompani~ent of the express no opinion now on the origin or antiquity of this mysterious reb~b, a one-stringed fiddle. The Kurds call Gypsies A 1shuk, from people, but simply present some facts and considerations which may Turkish 'Ash~k (~j.. ~;;;,l~); a story-teller. throw some light on these points. Further from Naumann (p. 228): "Freytag supposed they were They are outcasts and a despised race. Writers did not conde­ the descendants of old gladiators and comedians who on the fall of scend to speak of them. This is true of many other subjects. The Rome were compelled to seek their bread among the barbarians," fact, therefore, that Gypsies were not mentioned in books proves and played and piped "what had been introduced into Rome from but little. When, however, they came suddenly into western Europe Asia." Undoubtedly there was just such a class of showmen and as an apparition they were described. Here in the United States musicians in the Roman Empire, and very probably they were later are large numbers of Gypsies from southeast Europe. Most people scattered over Europe. Rome received from the East before and never hear of them. Once or twice, however, a large band has after the Christian era large numbers of Oriental musicians, singers, appeared in Boston, noticeable from their numbers, dress, appear­ dancers, jugglers, tumblers, knife and ball tossers, tight-rope per­ ance, ,and the newspapers contain columns about them. They make formers, and other showmen. Whether they lost their Oriental a sensation in some way, and are mentioned. character, or formed a class by themselves which persisted, is another English Gypsies have been here for two centuries certainly, and question. Very probably they scattered over Europe. yet very little is known about them except by those interested in the Naumann (p. 228) observes: "Notwithstanding the great favor with subject. which these wanderers were regarded by the people and their en­ A description of Gypsy musicians and showmen who it is known deavors to establish the fact that their art was inherited, yet they have been travelling about in western Europe fo: several centuries never achieved any social distinction or obtained any civil rights. would admirably portray a similar class there in mediceval ages. True it is that their existence was tolerated, but all real protection This class consisted of itinerant mountebanks, jugglers, strolling of the law was withdrawn from them. Indeed, to such an extent players, story-tellers, singers, dancers, jongleurs, and showmen. Some was this carried that a strolling player might suffer bodily injury, of them were accompanied by their women and children. There even by the sword of his assailant, and yet have no claim .fo.r re­ were crowds of them. Were any of them Gypsies? dress." And (p. 229) : "Thus this remarkable people unw1ttmgly Perhaps it would be well to quote what a good authority states possessed of a romantic spirit remained throughout the Middle Ages about them who does not suggest the word Gypsies in connection honorless and homeless outcasts." with the subject. Were any of them Gypsies? They are outcasts. everywhere. ~t Naumann ("History of Music," under Folk-Songs, p. 227) states: this very period we know there were thousands of JUSt such Gyps1es " Specimens of the oldest secular mediceval folk-music, whether in the East. Had any of them then arrived in the West? romances of the South or popular ditties of the North Germans, are Naumann says (p. 229): "When the players moved about in com­ found in the songs of mountebanks, adventurers, itinerant and stroll­ panies, women and children formed part of the t:oupe, the former ing players, all accompanied with various instruments." -'In Ger­ taking part in the performances as dancers and smgers. Amongst many these wandering musicians were generally tramps and vagrants, those companies that roved through the South we find women and a very characteristic class of the Middle Ages." This is just what children skilfully using the well-known Orient~l tambo~rine. and Gypsies were, and are often called everywhere, and what they were Egyptian clappers in their wanton dances. The1r wandenng, diss?­ supposed to be and nothing else, until Grellman discovered they had lute life induced a certain moral laxity that brought upon them pubbc a real language of their own. censure, so that Childebert promulgated very stringent laws for the Again (p. 228) : "In Italy they were chiefly recruited from stroll­ suppression of their licentiousness." ing players and showmen who traversed the country exhibiting This was about 500 A. n. I have never heard or read of any such camels, monkeys, and dancing bears, from tricksters and venders of class of showmen who wander with their families except the lowest ceretari (sweetmeats). In France, especially Provence and Nor­ class of Oriental Gypsies. Irish tinkers are not Gypsies. They mandy, they were jongleurs and menestriers, men who were indif­ roam about with their families. They are not showmen. Some ferently buffoons, rope-dancers, or musicians, and also reciters of Slovaks travel in wagons with a familv to sell wares they make. fables and story-tellers, who accompanied their recitals with music." 30 :Journal of American Folk-Lore. Gypsy and Oriental Music. 3I Otherwise no race wanders about in Europe with families except they are to-day and have been for some centuries, in spite of cruel Gypsies. So it has always been, I think, excepting Tartar and Arab persecutions. The Spanish Gypsy dialect shows many words which nomads, an entirely different class, so far as is known. To cite from must have come from southeast Europe, and many other things show Naumann again (p. 229): "They were found in hundreds at court their language must have come that way. Still it is by no means festivals and fairs, on great market days, and when celebrated pil­ impossible that very many Oriental Gypsies have come into Spain grimages were to be made, rewards in money, food, or raiment were by the north coast of Africa. They are all along there now. Much usually very great. They were also the secret messengers of nobles Spanish music and many dances are plainly Oriental, whoever and kings, courier d'amour of lovers." The Gypsies everywhere brought them, Moors or Gypsies or both. One thing must be re­ have been always used as spies, messengers, and "go-betweens," membered in all Moslem and Eastern countries, from the seclu­ not only in the East but in Europe. Tartar, Turkish, Hungarian, sion of their women there is and was always a Gypsy-like class of and other armies have frequently used them as spies and messen­ musicians, singers, and dancers, and showmen. gers. They are the Shah's couriers in Persia to-day. Gypsy women In France, Germany, and Italy the Gypsies were never numerous, in Egypt and everywhere are noted as arranging meetings for lovers. and to-day those who belong there are few in numbers. Still in "During the eleventh and twelfth centuries mountebanks and France at country fairs they are sometimes still seen as jugglers, strolling minstrels were engaged by the Troubadours and Minne­ tumblers, acrobats, and showmen. Italy I have already spoken of as singers. At first only as accompanists to poetizing nobles and to visiting Arab showmen. The extreme repressive measures and knights; later they spread the songs of their masters." Our word strict police rules have greatly affected their numbers in Germany. juggler is like jongleur, from the Latin jocularius, ludicrous, "funny," Still in many places there are colonies of settled Gypsies who roam joculator, a "funny man," man who makes fun. This is one of the about as musicians and showmen. specialties of the Gypsy showmen. And page 237: "In Spain they Enough has been stated to show that during the Middle Ages were called joglares, and Estevan de Terreros speaks also of female everywhere in Europe was a roving class of musicians and showmen jongleurs, joglareses, who roamed about the country with the jog­ who had with them their families, and long before the fifteenth cen­ lares, as lute and mandolin players." The Italian "trovatore" tury. The only class who answers the same description to-day and means troubadour. The opera "Il Trovatore" assumes they were for several centuries are Gypsies. It is impossible to go into the Gypsies. Very many operas are Gypsy operas. There seems to be whole matter fully now, and I refrain therefore from expressing any a widespread tradition that troubadours and jongleurs and minstrels opinion of my own. were Gypsies. Many of the most celebrated Welsh harpers have Many have thought the Gypsies have had much to do with spread­ been Gypsies. ing folk-songs over Europe, as Groome, Leland, and others. Eliza­ The name troubadour· properly should be applied to the courtly beth Robbins Pennell thinks the Gyspies introduced the bagpipe into noblemen and gentlemen who composed verses and sang them before Europe. In many countries it is a characteristic Gypsy instrument their lady loves to their own accompaniment. Generally they hired to-day. There are several other musical instruments so peculiar to stro1ling musicians, jongleurs, minstrels, to sing and play their com­ the Gypsies, not only in Europe but in the East, the subj ect is most positions. Often, however, the term troubadour was also applied to interesting, but space forbids more than the mere suggestion here. the jongleurs. The Minnesingers ordinarily had no bards like the It is important also, and directly ears on the question of their troubadours. influence on music and the dance. In the seventh century it is known from history that there were The whole matter can be summed up briefly thus : All the public many thousands of Gypsy musicians in Persia. They were the public musicians, singers, and dancers to-day of the western Orient are musicians, then, of that country. They are nomads. Would they Gypsies. There has been a similar caste there since long before not naturally have followed in the wake of Arab armies into Spain ? Christ. Were they Gypsies? When did they disappear and the At that time all armies had a large number of camp followers, Gypsies monopolize their place? Customs, habits, peoples, change including many women. There is nothing to prove this. It is all very slowly in the East. The tunic of a farm laborer in India is the a matter of inference from certain facts. It always seemed to me same to-day as two thousand years ago, as depicted on sculptured surprising that the bands of Gypsies entering Spain from the north stone. So in Persia, Syria, and Egypt the plows, the farmers' in the fifteenth century could so soon increase to fifty thousand as tools, the shepherds, their manner bf caring for their sheep and goats, are the same as in old Bible times. 32 :Journal of A mert'can Folk-Lore. Many questions about ancient matters can be settled only by studying the East to-day. Professor A. V. Williams Jackson, in his recent book on Persia (p. 75), speaks of how a Zoroastrian simile was settled which had always puzzled him. A Pahlavi book says," On the last day, "a wicked man shall be as conspicuous in that assembly as a white sheep among the black." He found in the Urumiah district a white sheep is rare. So it is among the Kurds, all the sheep are black with rare exceptions until we reach the southern district, Diarbekir. In this article I. have attempted simply to state in a general way some facts which may throw some light on the vexed questions of the antiquity and origin of this mysterious people, questions which never have been satisfactorily answered. One thing has always impressed me. Those who have lived in the Orient, both natives and Europeans, have so often suggested to me an older and different origin from what has been commonly sup­ posed. Such people know Orientals, their history, customs, habits, and. characteristics. They realize many details unknown to Euro­ peans, just as Professor Jackson explained the puzzling Pahlavi text only from being in Persia. Such opinions should be carefully con­ sidered before rejecting them. I refer to the many kind friends all over the East who have carefully considered the subject and assisted me in my investigations. A. T. Sinclair. ALLSTON, MASS. 10

A LITTLE GRIST New Wash Goods " NIG ~T ri ----, Women Ran Some of Tl North End with Succe Opening of the Many Men Have in Straight Lives-A Tem Spring and Summer Styles Why Men Do Not Bath 1909 Some of the •heap lod North End, a few years a :women A !though they wet And it is worthy of note, th who turn to this Kind of D New Wool Goods arre generally Spe.a.king of 1 It would Seem that thi!'l cans for Extra capacity. A WOMAN'S FAITH ' Week of March 1st A few years ago, A we couple of these, and as a Every department is prepared to make the coming season men to get Lodgers h the largest in our history. To this end we have gathered eoffee !\Iornings And very Stew was given free, to th the most attractive assortments of high-grade mer­ a bed, yes a.nd often Son chandise that it has ever been our privilege to show. and-outs who had Ever lod 3JlY of them who had .r.::\ decent would be given a b not have the Price, And to Say tha.t while Some .Byron E. Bailey ,to return the kindness Tl: did come back to Pay as remember one case 111 Company Mention. A certain man a consld~rable time, But 31-33 WINTER STREET b d regular E\·e-ry ulg on "Whalllng Vessel, and months. one day a man ren 'S~range that So and So nev one nr Twn nnlv :~q tn F.urnn~·an music. <:onsid~lng the way he wa~ MUSIC OF THE INDIANS The device seems therefore an amplifica­ the Landlady observed, tt Is tion of th~ . dls~inctlon between ~Y and that he has not S"tHYwn up, he FINAL RESULTS OF T HE HEMENWAY grave fam1l1ar 1n our own ears, and sug­ s-omewhere, 'he will come ba gests indefinite possibilities of emotional And ~he was right in a r ?W .. EXPEDI'I'ION expressiveness in music. All travellers bea r right ln and Paid up all. N witness to t.b~ moving power of Indian cbse of reading Character Careful Study of the Hopi Indian Music son"", and even in these bare scores the take. '\Ve like to have " to record of this cla.es B by Benjamin Ives Gilman Convinces Him author finds evidence of it. But. as a bota­ nist In his laboratory cannot predict the cumslances are always a That the Indian Music Is oE a Type habits of a plant, so a music!an in his the temptations of Povert all the Poor are not uep Hitherto Unknown in Its Independence study cannot dogmatlz~ upon the place that these songs fill in the lives of the singers. is a fact ,u1at Poverty 1 of a Scale-Another Fvidence of the H is inferences as to their expressive con­ pravlt~. Indigenous Origin of Aboriginal American tent must, as the author says, be largely One thing that makes conjectural. The test of experience in the ple In the Common Lod Civilization field Is essential. associates. none of the choose, they must mix It is to be ho.oed that future investiga­ Hopi Songs. By B .njam!n lvE'!' Gilman, the Bad and the good Al secretary of the Mu ·eum or Fine Arts, Boston. tors may combine this field experience with us of a case where Twent Journal of ·American Ethnology and Archreolo- similar exact laboratory study. In his in­ 1 !ng In one Room, one a ~-e [J~!;~sldaen~r;~~-cll9~ ~g Pv;_l~ve;. 23~~~~r~ troductory essay the author makes the sug­ loud Snorer, and kept all notations and d!avrams. gestion that this plastic melody of the all night. of course thl The first Europeans to land on Ameri­ Pueblos may be the ethnic musical type of man on the move, He I can soil thought they had reached the the Americas. The rockbound fastnesses than one night any •· Eurasian continent again, and named th~ of the m rican desert may in these no­ fault of his. It is a dl£:t country the West Indies. Later i.t was found tations have y ielded the secret nf the elab­ They Say that Thievery o be a new world. Likewise the earll .. r orate art which so impressed the Spanish If So the ·world is a students of aboriginal American mu~lc discoverers of America. The suggestion of­ And there is no Doctor thought it based on the Eurasian scale fers one of those opportunities ior proof or scribe for the disease. and Its harmonies; and to complete the disproof by which science mainly advances. There are thousands parallel the latest investigator of Indian If in the Pueblos this ancient music doubt- kinds of Nostrums. Finging believes it on the contrary a new 1 ss lingers elsewhere also-on our own spreadirft all the time world of musical form, melodic instead plain!', in the swamps of the .'\mazon, the the remedies are orr of harmonic in basis and constructE'd defiles of !\texico. or the short:s and bar­ He turns his head without the use of a scale. This claim rens of British Columbia. ·It remains to thank you, not for ;,;iG.J~R g-rcnmls are· set forth in a volume apply the same microscopic analysis to the disease. entitled "Hopi s;ns:s" jus(-i:.S"ti'sd- by ttl(; rsp.in y van! hing song of the?.e faraway A BATH ORDIN A....._O: reg1ons. Science will he the gainer whether ENF'C'0 Gl 0 Riverside Press.* Most People knO\' u1 ~ tl'ese lodging house ~~'~ 'i? ·~ for reproduction at will our knowledge work of the Hemenway Southwestern Expe­ P ople who run the/ f' ~...... ~ · dition by Mr. Gilman and. Mi~. Katherine up to these rule • ! ~ ...-~~----"""' 'ol_"'- . t el • the art outside of t- .. _ ,.. ... 'l"h r-----:-'li!iil~oii'iiei""""l'li"R.l~r:ntlllle-a''"Ul~rT!- ft'llr...... ~-----. ..""'" tbe 8 udy ot .Amenca.n eology s ... rtsts inferences from ln trumental forms noteworthy !~c:e of the htened pub- and itot tiona In baste by observers g - ue spirit tor JWh~ the cttlsensbtp Off Bos­ erally untrained. Seventeen years ago ton bas been dlatln«ulf!ed. The ftelc! work spusleal performance wa.s ftrst closely ob• of the expedition began In 1 and con- erved and accurately tra11scribed by a ttnued \Dltll rs. Heme y's death In 1894. t ent at l~tav.re as a botanist might The j ooUected bKsmde beside the pre._ c utlnlze and d w t e s u .. -a .riQh t ...... ~ \ ·~tono ur. ubbl&ton tth il honograibie records of Hopi or Mo- A. ; th e e.ro b--...-~_,.va• ts, D r. H . F . C . --t_. a ut singing obtained by Dr. Fewkes at an4 Dr. Adolph F. Bandelier; the late .John e Pueblos of northeastern Arizona. G. Owens, afterward chief executive oftloer In C'Omments appended to the Zuni no- of the Pe&Alody ~dltlon to Honduras, and (atlone, Mr. Gilman maintained that tbls Mr. A. M. Stephen, long a resident among $uelc was of a type hitherto unknown In t:h~ Hopi. Professor Edward . Morse and ita Independence of a scale. Thi-s view Mr. Sylvester Baxter represented the eY· as. In the present volume, been sub· pedltlon at the Berlln Congresa of Amerl· ltted to the test of fresh evidence; ancl canlsts In 1 and 1892 rs. Hemenway the opinion of its author Is strongly sent a collection of specimens from the nflrmed thereby. Pueblo melodies pre- Pueblos in Dr. Fewkes' care 'to the Madrid nt. the unique case of a non·scalar mu. E:J!POsltlon, commemorating the di8COvery ot c. If true, this conclusion forges an- America. The review closes with an lm· tber link in the chain ~f evidence tor posing llst ot titles of the boola!, mono· e indigenous origin of aboriginal gra,pha and essays whleh have been tbe m­ merlcan clviltzatlon. erary Jrult of the ped'ltlon. Taken In su!ll n Important section of the present tlhese results constitute an achievement of olume Is devoted to an Inquiry Into the lncalrulable value to America. Dlsa.ppear­ ustwortblness of the l»honographlc ing xestlges or an Important brant"h of Ita ethod ·of studying musrcal performance. a.borlglnal inhabitants have been made for­ series of physical tests of the instru· ever a possession of the nation by the ln­ ent proved it of ampli! precision for 1:he telligent enthUijdaam of one ardent lover· of rposes of such Investigations, Its aber· her country. aUon being In general o small as to be ~======~ eyond discovery by the finest ears. That hf! music In crlbed was th normal sin&'· BRILLIANTS of the performers, unlntluenced by rnbarrassment or other source of dis· Nothing is so strong as gentleneu, ortion, was Indicated by the general Nothing so gentle as strength. estimony of those who had used the [St. Francis de Sales. trument and confirmed by the Internal ructure ot the records. Fortified by ese concluslohs, the author undertook That man may last, but never llves, determination of tht course 'Of tone Who much receives but nothing gives; o owed by the Hopi alngers, which be­ Whom none can love, whom none can a e eventually ven times as minute thank, that resJed n the customary no- Creation's blot, atlon of music. '1'hB lt'ne of. he a o mst of :tea he cornm n ic l s all, ones thr~ o1" \lr l£,eya a n our pianos, ex re 09 h equt ent to half between D '¥ and the ne t t s, q,uarte and this -small dlf- e~nce is stlll further divided by notes n cUtrerent poet Ions between the lines. be notations may therefore be de­ rtbed as microscopic drawings of mu­ Yes, leave It with Him, the lllles all "do; elcal performance, the power employed And they grow. elng seven diameters. They grow In the rain, and they crow In An unlooked-for and remarkable dis· the dew, covery was the result of this minute Yes, they grow. study. Hopi ~ongs are not melodies in They grow In the darkness all .bid In the our sense of the word. They consist of night, dUferent renderings of melody, qo one 'rhey grow in the sunshine revealed by the t>f watch can be called the song. In­ light: etead, the song app r In general either Still they grow. [Anon. a progressive change of rendering, or a regularly rhythmic sequence o' alter­ CB native renderings. The work of art ls not a 11ingle motive-as a song is else­ [From the Parle J'oumal] w}Wlre in the world-it Is not even a Everything has to be sclenttftc nowadays: motive with variations, but a progres­ cooking, beverages, education, sport. . . sive or recurrent alteration of a repeated Book-keeping, law, hy.,.ene, soclolon­ m tve, no one repetition the standard that Is what we teach our children. No and no one a variant. This music has wonder the world Is so dull. To enjoy one's­ the mobllity and poise of llving U sue-! self 1 not scientific. Such Protean form cannot, In the au­ tllor's Inion 1:>e. b e on th Procru t an . lnlster of C u lnl<.'haeJ, in 'F ,f , outltn s of a deftnlte scale or precise har­ cotland, frequently talked from the pulpit mon!es. Tbe Hopi sonp are. In his beUef, to hi8 bearers with amu I • anti, tndeecl, eate tral s of ton . followed as trans are trrever nt famlllarlty .. E po ding a pas­ Uh a general fidelity to the p~th and the sage from Exqdu one , day he proceeded goat, but with a free choice of lndlv:dual thus: "'And the Lord said unto Moaes'­ eps. The word "scale" meanA originallY !"neck that door! I'm thinking If ye had to talrway, a.nd the author COIQpa!"es the con­ sit be Ide thf! door yersel', ye wadna be straint of European music to stepping back sae ready leaving It open. It wae ]ust be· side that door that Yedam Tamson, the and fo th on a fixed series of treads: while bellman. got his death o' cauld, and I 'm for Hopi music he choo es the old word sure, hone t man, he dldna let it stay "rote-song," comparing its liberty to pas· muckle open. 'And the Lord said unto sap over a famUlar mountain route, often oses'-I see a man aneath the Jaft wl' by t Identical ledge , but often by new his hat on. I 'm suNt. man, we 're clear o' tootbOlds also. the soogb o• that door there. Keep atf e most conspicuous form of variation your bannet, Thlimas. and If your bare lf! a mall displacement of the plteh of cer· pow could be c:l.uld, ye maun just get a talJl notes like that which in llluropean gray worsted wig, like myset'. They're no 'Jilusic would ch nge a major Into a minor sae dear-plenty o' them a.t Bob Gillespie's melody. But In Hopi singing the change for tenpen ce apiece." The reveren~ gen­ may affect any number of notes and not tleman then proceeded wltb bla 41scouree. n r 16, 191L

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Very t ruly yours,