Language and Folklore. 179 
morphology of the language, the expansive use of suffixes, pronominal 
and others, by which the corresponding parts of a “sentence” are 
linked together. 
The repetition of а petting-suffix (‘dear little’ or ‘big’?) in two 
words produces a rhyme here: 
Text no. 5. Text no. 8. 
a niwaq gaciniartiwin 
uwana niwag ara tuic ertiwin 
nalercaiuic'ertiwin 
whereas the following example shows the conscious use of assonances 
and dissonances: 
Text no. 169. Text no. 178. ; Text no. 183. 
atame llåre"wa ilamale uiånik ak'o:na suniara'vna 
utume лаге’ ша ajamale шашек pisari“na зиптага`®па 
One of the poems that bears evidence of conscious art is no. 13. 
It begins with rhyming words, and is divided into two uniform 
stanzas of seven lines each. 
The conscious art seizes on words that are stamped by a certain 
sentiment and, as it were, places them on view. I think of no. 47: 
“Great grief came over me”, or the frequent poetical expression for 
making poetry: “Let me breathe of it”, or the more individual, un- 
usual symbol — if it is a symbol at all, and not much more likely 
a magic wish — in no. 194: “Who will uplift me? Only if I am up- 
lifted, is there a prospect of my getting forward.” 
We are reminded of ancient scaldic art by phrases like these: 
“I begin, then, to sing my refrain galannaaja” (no. 38) — or “I have 
put my poem in order on the threshold of my tongue” (no. 39). 
Another kind of effect — maybe caused by consideration of a 
tabooed word that must be avoided — finds a vent in no. 174: 
mana mana ajiwa'iliyo ‘But this here they are not good at’, 
mana mana sapinaitino ‘But this here they have no comprehension of.’ 
where “this” (to sew) is shown by a gesture. 
A frequent form is this: to propound a question, appearing 
astonished or indignant, and then immediately after to answer it 
oneself in an antithesis, e. g. the beginning of no. 192. 
The short, concise description emanating from a condensed feel- 
ing of life is typical in no. 33 with the thrice repeated exclamation 
that ends the song: “she is unhappy’, “take pity on her!” 
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