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Published online by Cambridge University Press: 02 December 2020
Problems of collecting oral literature range from the purely technical to the esthetic. A top collector must be an engineer capable of operating and often repairing complicated recording machines; he must be a scholar and an historian, bringing a broad knowledge of the culture he is collecting; he must be a public relations man; he must have a sturdy stomach, capable of digesting all manner of food, and a good head to withstand all manner of drink; he must be physically in top shape, capable of hiking up lonesome mountains, of rowing a boat, even of taking a turn at cutting wood, haying, or butchering; he must have a reassuring bedside manner, able to soothe those who think he is planning to put their songs and stories on radio or record and make millions for himself.
Note 1 in page 335 This paper in somewhat different form was read before the Comparative Literature 2: Popular Literature discussion group at the MLA convention in Philadelphia, December 1960.
Note 2 in page 335 Francis P. Magoun, Jr., and Alexander H. Krappe, The Grimms' German Folk Tales (Carbondale, Ill., 1960).
Note 3 in page 335 Walter Jekyll, Jamaican Song and Story (London, 1907); Martha W. Beckwith, Jamaica Anansi Stories (New York, 1924).
Note 4 in page 335 Anansi, spider, is the hero of many West African and Caribbean tales.
Note 5 in page 336 For extensive discussion of this point with much concrete material, see these outstanding works: Albert B. Lord, The Singer of Tales (Cambridge, Mass., 1960), Part 1; Melville Jacobs, The Content and Style of an Oral Literature (Viking Fund Publications 26, New York, 1959); Melville Jacobs, The People are Coming Soon (Seattle: Univ. of Washington Press, 1960).
Note 6 in page 338 See Francis J. Child, English and Scottish Popular Ballads (Boston, 1892–98), v, 397.
Note 7 in page 339 New York, 1952.
Note 8 in page 339 New York, 1950.