Oral genres

Folktales

Folktales are virtually universal. These are short, occasionally in verse, sometimes with an ending that echoes the explanations embedded in Rudyard Kipling’s Just So Stories (e.g., “How the Camel Got His Hump”), and possibly with an irrelevant coda. The personages consist of humans, animals, gods, and, more rarely, inventions such as giants and monsters, who interact with one another by speech and by other means. In this wide array of tales there is a place for the salacious, and some stories are apparently directed to adults (or at least to adolescents), but the bulk of folktales undoubtedly anticipate an audience of children. Grim as some of their contents can be, they are “nursery tales,” to use an English term equivalent to Charles Perrault’s “fairy stories” (contes des fées).

Because the vast number of folktales are intended for children, it is quite mistaken for anthropologists to use them as evidence of the typical thoughts of primitive societies or for historians to do the same for, say, the rural population of 17th-century Europe. But just such an approach is sometimes taken by those who see culture holistically, with each item having the same representative status and value in characterizing mentalities, beliefs, and practices and with each item taken to exist within an undifferentiated cultural ensemble of artistic forms. In fact, the relationship of these stories to other aspects of culture is very particular.

While their relationships to culture are very particular, the stories told within folktales also persist over long periods of time and have no very close relationship to a particular culture at a particular time; examples from English-speaking societies include children’s rhymes and songs such as “Ring a Ring of Roses” and “Three Blind Mice” and the story “Jack and the Beanstalk.” Like the rhyme “Frères Jacques” or the story of Cinderella, they cross sociopolitical and linguistic boundaries rather freely and are adapted by individual storytellers. Such movement across boundaries is encouraged by the relatively small size of individual oral cultures, and these stories may be transposed into other dialects and other languages; the ease with which that can happen emphasizes the transcultural character of their themes and expressions. It is this comparative insulation of children’s stories that, arguably, accounts for their relative homogeneity around the world, as does their frequent use of nonhuman animals and panhuman themes.

Fables are a subcategory of the folktale, employing animals as well as humans as the main characters. In the form they are known today, either from ancient Greece and Rome (e.g., Aesop’s fables) or from India, they are in fact products of written cultures but are close in many respects to folktales more generally.

Song

Song plays a very general role in oral culture. A song’s words often resemble lyric poetry, having to be of a tight metrical structure because of the musical accompaniment. Equally, when epic and other recitations are accompanied by a musical instrument or a strong beat, the rhythmic verbal structure is always influenced. An important variety of song is the lament at the death of an individual, which may take the form of stressed speech or follow a more melodic line.

Songs may be included in rituals and in folktales and other genres, but they are often performed solely for entertainment. The melodies themselves may be elaborated and expanded upon by way of musical instruments, leading to innumerable variations invented for the occasion, as with jazz. An important subcategory is the work song, the performance of which is likely to be gendered, as is the work itself.

The ballad is a form of narrative song that arose in Europe during the Middle Ages and hence is arguably part of a mixed oral-literary tradition. The genre displays strong metrical forms associated with a melodic accompaniment; it is often concerned with conflict (especially in the Scottish-English border ballads of the 15th and 16th centuries), celebrating heroes and outlaws, and has held its popularity in the modern period, as exemplified in popular songs such as “Frankie and Johnny.” Narrative songs of this kind are much less common in oral cultures, though varieties of the form mark early literate societies.

Songs are distinguished from chant by being shorter and more melodic. Chant is a rhythmic manner of presenting speech that verges on recitation; while it may be accompanied, chant is carried out with a regular beat that does not interfere greatly with the words, which are deemed more important than the music. Chant may be used for shorter recitals and in such contexts as the Maori haka, and it is sometimes employed for epic poetry or for the long recitations typically categorized as myth.

Folk drama

Theatre in the modern sense is an outcome of the written tradition in Greece, Europe, India, Japan, and elsewhere. It is sometimes difficult to draw a distinction between drama and ritual; indeed, the origins of drama in Europe lie in religious and ritual performances. The occurrence of secular drama in oral cultures is not well attested and, where it does occur, is peripheral. Nevertheless, (folk) plays of a more or less secular kind do occur in the popular culture of literate societies, such as the mumming plays of the European tradition, which stand in opposition to the written plays of the elite theatre.